2022 REPORT | The best movies on Netflix

Like every year, the big N platform has been able to pull out of the game. make confirmed filmmakers: Richard Linklater, Sebastien Lelio, Guillermo Del Toro, Alejandro G. Inarritu, Tobias Lindholm, Andrew Dominik… Here is our selection of the best films released in 2022 on netflix.

Blonde hair

One film has sparked controversy and very polarized reactions. Blonde hair places the spectator as yet another voyeur in the existence of a cursed woman, Marylin Monroe, who has played all her life with appearances and the truth, in an attempt to capture their essence. In the skin of the icon, Ana de Armas seems obvious, giving herself body and soul to her character, not confining herself to a vulgar exercise in mimicry but indeed proposing a reincarnation as bewitching as it is complex of the charismatic and indomitable icon. The Cuban actress delivers a luminous performance in front of the camera of Andrew Dominik, whose radical proposal should leave more than one on the floor. – TP

The Wonder

THE WONDER by Sebastian Lelio

Carried by composer Matthew Herbert’s disturbing score, the rustic setting of the Irish countryside and its flashes of horrific imagery, The Wonder particularly takes care of its strange atmosphere to immerse us in this ghostly tableau, between lost souls, unmentionable secrets and child abuse. Sebastian Lelio gently unfolds his tragedy and his study of character(s), with a good management of the rhythm giving his film a sense of latent urgency as he has always done so well, again thwarting the cogs of doctrine and the crushing weight of religious communities. He offers to Florence Pugh a new role of assertive woman who internalizes her suffering and her asphyxiation and fights for justice and reparation. After The Young Lady which revealed her talent to the eyes of the world, she again wears this historic piece centered around her lonely character – although she finds in Kila Lord Cassidy a particularly promising playmate. – TP

Pinocchio

PINOCCHIO by Guillermo Del Toro

With the talent that we know him, Guillermo Del Toro demonstrates all his ability to marry tragedy and comedy in order to offer a reflection on the love between a father and his surrogate son. Depth of emotions and richness of the stakes are on the program here, in this adaptation which manages to take advantage of the deleterious atmosphere of fascist Italy to take a rather enjoyable counterpoint, especially in an anthology scene with Benito Mussolini . The best Pinocchio of the year, it was him. –JCM

Apollo 10½

APOLLO 10 ½: THE ROCKETS OF MY CHILDHOOD by Richard Linklater

Cradled by a retro and summer soundtrack, we follow the daily life of this youngest of a large family in Houston, fascinated by the American excitement for the conquest of space. Cut into different slices of life to which the voice-over and the animation bring tenderness and grandeur, the story brings us back to the overflowing enthusiasm represented by a day in an amusement park, watching soap operas and horror B series at television, games in playgrounds. But, against the backdrop of the young hero’s experiences, Richard Linklater also takes a distanced look at the American way of life of the time as well as on the political movements of the time, tinting the nostalgic momentum with welcome lucid reservations. Look at the past for what it was, with the good and the bad, to nourish one’s seemingly “basic” personal testimony with an informative and visually stimulating page of history. Funny, endearing and exciting, Apollo 10½ marks the return of a sensitive American filmmaker whose view of history and feelings we had terribly missed.

bardo

BARDO, FALSE CHRONICLE OF SOME TRUTHS by Alejandro G. Inarritū

If the film is light, we dance and activate a lot, especially in an admirable reception scene where we hear David Bowie’s “Let’s dance” a capella. But bardo also knows how to be serious when a motif seen at the beginning of the film is repeated, underlining the drama that was lurking there. It is now the shadows that are highlighted, at least for a while, before the joy returns, sweeping away the seriousness that had set in. With Iñárritu, death is not a drama, in the straight line of the Mexican tradition, but a celebration of a new state where one finds one’s friends and one’s family like communing once again all together. In bardothe metaphors come to life and consecrate a film of incredible generosity where sensitivity is king.

The good nurse

THE GOOD NURSE by Tobias Lindholm

With Murders without order, Tobias Lindholm finds some patterns that he already loved in A war and Hijacking, emphasizing the cogs of the investigation and the emotional repercussions for its main character, confronted with a fight that should not have been his. Through this disturbing story, the filmmaker also highlights some complex subjects, such as the shortcomings of the health system across the Atlantic and the reluctance of medical bureaucrats who prefer to eclipse a problem rather than fight it. To embody the title duo in this game of cat and mouse, Jessica Chastain and Eddie Redmayne bring the necessary credibility to a story that could seem quite incredible if it were not based on a real case involving one of the most unimaginable breaches of trust of the early 21st century.