From Sissy to The Stranger: the 10 best Australian films of 2022 – ranked
We were treated to some remarkable new talent this year, spanning environmental documentaries, satirical horror and kitchen sink realism
Which Australian films did you love this year? Join us in the comments
There was no shortage of excellent Australian films released this year. If 2021 was a particularly great year for documentaries (which accounted for half of my top 10, including three of the top five), 2022 boasts a more particular highlight: films about rivers. By coincidence, three of the titles below contemplate rivers historically, ecologically and spiritually.
But it’s not all beautiful streams of flowing water – there’s also witches, criminals and the scum of the universe (social media influencers). As usual, films needed to have a local theatrical or streaming release (outside film festivals) sometime during the calendar year to be eligible for this list.
To say Sherpa and Mountain director Jennifer Peedom’s latest production breaks the “show don’t tell dictum” is putting it lightly: the film is extensively vococentric, narrated by a biblical-sounding Willem Dafoe. “When the first rains fell, the Earth awakened,” he says, going on to ruminate in depth about how “rivers have shaped us as a species”. Yep: this dude really likes rivers. The film will be remembered, however, for its jaw-droppingly beautiful cinematic images, matched to music from artists including Radiohead and the Australian Chamber Orchestra.
Onwards we roll (swim?) from marvelling at the world’s rivers to one in particular: Tasmania’s exquisite Franklin River, which activists saved in the 1980s by blocking the production of a dam. Before director Kasimir Burgess explores direct action protesting and the divisive issue the proposed dam became, he creates two core connections: one with the environment itself, and the other with Oliver Cassidy, a conservationist whose father, Michael, was a key part of the resistance. This gently entrancing documentary is tenderly made and carries a powerful message – and a particularly relevant one now too, given the recent alarming treatment of climate activists.
Many dragons have flown across our screens over the years, but none are like the dragon in Del Kathryn Barton’s feature debut: a uniquely magnificent creature that reflects the acclaimed artist’s idiosyncratic style – created using lots of strange materials and glittery bits. This sensational creation is an imaginary friend of Julia Savage’s 12-year-old protagonist, representing the inner strength she draws upon after witnessing a woman being raped and murdered. This is no Disneyfied experience: rather, a hard-hitting film littered with strikingly strange and beautiful embellishments.
7. Moja Vesna
The term “kitchen sink realism” is sometimes used to describe films like Moja Vesna, in this instance correctly implying an unwavering sense of authenticity from beginning to end. But it doesn’t do justice to the craft, diligence and humanity of this strikingly assured feature from writer/director Sara Kern, drawing on her own experiences as a migrant to Australia. Following the sudden death of her mother, 10-year-old protagonist Moya (Loti Kovacic) assumes a leader-like role in her family, consisting of her Slovenian father (Gregor Baković) and pregnant 20-year-old sister (Mackenzie Mazur). Young Kovacic delivers a quietly remarkable performance: finely controlled, layered and moving.
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Social media influencers and the wellness industry are the targets of Hannah Barlow and Kane Senes’ diabolically entertaining and satirical flick, which is not for the faint-hearted or weak of stomach. Online celeb Sissy (Aisha Dee) gets roped into attending the hen’s weekend of former bestie Emma (Hannah Barlow) and bloody mayhem ensues. The horror is rooted in the unwanted rekindling of old relationships … but who will be the villain, and who the victim? Uncertainty and anticipation eventually explode into all-out carnage in an unpredictable film with style and sass to spare.
5. Little Tornadoes
Director Aaron Wilson’s moving small-town drama, which he co-wrote with Christos Tsiolkas, is visually elegant and verbally interesting. There is the voiceover narration reflecting on the migrant experience in 1970s Australia, from a mystery character whose identity is not revealed until well into the runtime. Then there is another voice, one that bounces around the mind of the film’s stoic protagonist, Leo, like a bad memory. Mark Leonard Winter’s outstanding performance as Leo, a gloomy metalworker who is struggling to raise two young children after his wife leaves him, painfully aligns body and soul.