The Best Films Of The Year (So Far), According To The Viva Team

From otherworldy epics to intimate romances, these are all of the films our team of editors and writers have loved this year.

As we enter the depths of winter and burrow ourselves into duvets and blankets, we’re seeking company for our cosiness.

It’s a perfect time to queue up any movies marked as much-watches and settle into some quiet. So far, 2024 has provided plenty of high-quality material.

Locally, we’ve seen a handful of impactful reases. The Mountain, a heartfelt coming-of-age film that sees a group of children climb Taranaki Mounga (the Bush Telegraph called it a “funny, moving and thought-provoking” story). Never Look Away sees director Lucy Lawless, explore the life of Gisborne-born war correspondent Margaret Moth. The Convert, led by Te Kohe Tuhaka and Guy Pearce explores the recasting of a British colonist and preacher’s faith in 1830s Aotearoa.

There are also many exciting releases to come (including those set to be shown at the New Zealand International Film Festival in August).

The third instalment of Mia Goth’s X film series MaXXXine is set to show across New Zealand this weekend, promising Hollywood glam and slasher gore. A contemporary reimagining of the 1996 disaster film Twisters will see Revenant writer Mark L. Smith and Minari director Lee Isaac Chung collaborating. Francis Ford Coppola will direct a star-studded cast for Megalopolis, exploring wealth and greed in an American city called New Rome. Some film fans are also wondering whether the partnered release dates of Paul Mescal’s Gladiator II and musical theatre classic Wicked could produce a Barbenheimer-style event towards the end of the year.

But, for now, these are the Hollywood films that have demanded our attention this year. The collection is wide-ranging; we’ve been drawn to science-fiction epics, tender and passionate romances and anxiety-inducing dramas.

Dune: Part Two

All Of Us Strangers

At this point in time, I’d watch Andrew Scott and Paul Mescal in absolutely anything, so obsessed am I with everything they’ve done so far. Mescal’s Normal People, Aftersun and The Lost Daughter; Scott in Sherlock, Ripley and — who could forget — as the Hot Priest in Fleabag. So bringing them together for All of Us Strangers, a beautiful, surreal, mysterious drama/romance/thriller, was a stroke of genius. Writer/director Andrew Haigh’s film, based on the 1987 novel Strangers by Taichi Yamada, is strange yet instantly captivating. The story deals with grief, loss, love, mental health, addiction, and loneliness, with contrasting backdrops of a bleak dystopian near-future and sepia-toned 80s past. The big twist left me awake for hours, searching for explainer articles to corroborate or contradict my thoughts. Left wanting more, I was happy to console myself with YouTube videos of Mescal and Scott’s Vanity Fair interviews, and Mescal’s Chicken Shop Dates. Like I said, I’ll watch either of them in absolutely anything. Roll on Gladiator II. — Stephanie Holmes, lifestyle premium editor

Challengers

Among many others, I was waiting in great anticipation for this film. Challengers marks Zendaya’s first true leading film role, sees another indulgent cinematic world from Luca Guadagnino and, most excitingly, was born from an original screenplay (which landed on The Black List before it was picked up by producer Amy Pascal). And, despite my high hopes, I was still dazzled. The performances from the three stars were captivating, the cinematography was loud and exciting and the costuming by Jonathan Anderson (who is the creative director of Loewe) all demanded keen attention. I also had an incredible viewing experience for this film, huddled in the dark of a mall cinema. The showing was a little while after the release date, so the theatre was about half-full. This seemed to encourage a looseness among the audience who were very attentive and often audibly giggling. The film, yes, is dramatic, sexy and full of tension. But it is also so self-aware and funny. I laughed through the thudding score by Trent Reznor and Atticus Ross booming in the middle of scenes, the juvenile gazing from Art and Patrick in the bleachers and the colossal sweat drops dripping gushing off of everyone. The sporty romance felt like a real event in the Hollywood releases this year, which is exciting to see for an original screenplay. — Madeleine Crutchley, multimedia journalist

Civil War

I saw this film earlier in the year and it really got under my skin. It’s not a mystery why, given the state of things. Civil War feels disturbingly real, rendering in an urgent way easily social contracts can be broken. No one in this film is a hero, not even the journalists who ride high on the adrenaline of covering a conflict, and grapple with the moral sacrifices that come with the field; it’s an extractive profession at the best of times, and when war is involved the price is high. I don’t think it’s surprising that this came from Alex Garland — author of The Beach, writer of 28 Days Later, and Ex Machina director — as he’s spent his career picking at the decay of Western imperialism. Civil War calls to mind anti-war films like Welcome to Sarajevo (1997) and Harrison’s Flowers (2000). All three centre around journalists and the importance – and flaws – of the fourth estate’s role during a crisis. — Emma Gleason, multimedia journalist

Priscilla

From the opening shot of this bio-pic, Sofia Coppola establishes a steadfast alignment with the perspective of a 14-year-old Priscilla. The director refuses to waver from the young woman’s perspective throughout the entire film, creating a deeply sympathetic picture of her restricted to a mostly empty Graceland. It was fascinating to compare this film to the Elvis biopic starring Austin Butler (which largely treats Priscilla as an accessory). Baz Luhrmann’s film was full of razzle-dazzle, from the flashing neon lights to the near-garish colouring and obnoxious Vegas sparkle. By comparison, Coppola’s film is quiet and lonely, almost dull in its pinkish palette — amplifying the isolation of Priscilla’s time with (and without) the King”. This choice makes Priscilla’s final moments, driving out of the confining gates of the Graceland grounds, feel victorious despite their simplicity. — Madeleine Crutchley, multimedia journalist

The Zone Of Interest

In February I watched Jonathan Glazer’s eerie Zone of Interest about the life of Nazi commandant Rudolf Höss and his wife, Hedwig, who live with their family in a home in the idyllic Zone of Interest next to the Auschwitz concentration camp. It won Best Picture at this year’s Oscars and rightly so. The cinematography was both beautiful and disturbing, the lack of dialogue and voyeuristic direction made this an all too real and unsettling watch. The soundtrack was equally if not more mesmerising - booming, ominous and heartbreaking. Sandra Hüller as apathetic wife Hedwig was a standout performance. If there was an award for the most unforgivable villain of the year, Hüller’s performance would be it. — Dan Ahwa, creative and fashion director

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