‘I laughed, I cried, I reflected on many things’: Guardian readers’ best films of 2024

Dune: Part Two

Dune II is an amazing cinematic experience that built on the success of the first film and was rewarded accordingly at the box office. The only time, other than Peter Jackson’s Lord of the Rings trilogy, when a director has matched the look and feel of a novel and brought a living and breathing world to the screen exactly as I had imagined it. Bring on part three!
James Mustoe, 40, Cornwall

Anora

Sean Baker’s Palme d’Or-winning entry at this year’s Cannes film festival is transcendent in its storytelling. Baker once again paints a unique and sincere portrait of an individual ensnared within their own hostile and uncaring environment. Played with a feverous dexterity by Mikey Madison, Ani navigates a brutally complicated romance with the juvenile, spoilt son of an oligarch, Vanya. Baker’s interest in liberating sex workers and strippers from prejudice lies at the core of the movie. Ani’s livelihood is exposed to both the voyeurism of punters at her place of work and us in the audience. While the film is raw and sensitive in tracking Ani’s emotional exploits and endurance, it also exhibits an astounding humorous component that had me laughing out loud. Josh Mabbutt, 26, Leicestershire

The Substance

I’m not sure about my favourite, but the one that I will be thinking about for a long time is The Substance. Absolutely bonkers, but a must watch!
Tom, 44, Southampton

Small Things Like These

I loved Claire Keegan’s novella Small Things Like These, so I was excited to hear that Cillian Murphy was involved with the film adaptation. But I was also slightly concerned, as the text is so subtle and beautifully written. I need not have worried; the film is equally moving, powerful, spare, humane, quiet and not judgmental. It’s a masterclass in text to screen adaptation and in how less is more in film-making. Murphy’s performance as Bill Furlong is as heartbreaking as it is humane. The power lies in what is unsaid. I grew up in rural Ireland as a Catholic, so there was a kind of familiarity in some aspects of the film. The film doesn’t judge the characters; they are just people trying to do their best for their families. I’m so pleased that this adaptation was handled with the tenderness and care it deserved. Andrea Osborne, Edinburgh

I Saw the TV Glow

I watched quite a few films last year, but my favourite has to be I Saw the TV Glow, the second feature from writer-director Jane Schoenbrun. It taps so well into the feeling of being into a piece of media to the point where it feels more real than your lived reality. It’s one those films that speaks to you on a level where you’re pretty sure it’s altered your brain chemistry somehow. Plus, Justice Smith deserves recognition for a brilliant performance, and the score and soundtrack are brilliant. (Can we get The Pink Opaque as an actual TV series now? Please?) Carolyn Percy, 34, Bradley Stoke, South Gloucestershire

The Shadow Strays

Indonesia is showing itself to be the new home of the modern action film. The action can be brutal and a little dark at times, but Timo Tjahjanto shows why he’s making the move to bigger budgeted Hollywood films (Nobody 2). The central performance from Aurora Ribero is fantastic and I will definitely be keeping an eye on what comes next from her. Sam, 46, Belfast

The Room Next Door

The Room Next Door by Pedro Almodóvar is wonderfully acted by Julianne Moore and Tilda Swinton. The plot is engrossing and satisfying without being sentimental. It also has great cinematography and a stunning score. This film stayed with me for days. Wendy Alderton, 59, Cambridge

Love Lies Bleeding

Rose Glass’s Love Lies Bleeding is a lesbian thriller set in New Mexico in the late 80s, starring Katy O’Brian, Kristen Stewart, Ed Harris, and Jena Malone. It was released in the US earlier than in the UK, so I had to do a lot of spoiler dodging and saving of reviews and interviews for later. And that was absolutely worth it. The opening sequence is atmospheric, the introductions of Lou (Stewart) and Jackie (O’Brian) are memorable and real, the music choices and score are dark and fun and joy-inducing. The styling of the characters is great (especially if you love mullets – everyone has a sick mullet in this movie), and the romance of Lou and Jackie is the best part. It’s not cute or sweet, but seeing lesbians represented authentically in such a beautiful movie changed the way I thought of myself for the better. Meredith, 18, Cumbria

Furiosa: A Mad Max Saga

Furiosa: A Mad Max Saga stands head and shoulders above every other 2024 movie release. An absolutely immersive journey from start to finish, with a wonderful cast and visuals that were meant to be seen on the big screen. I loved it! Chris, 44, Devon

Godzilla Minus One

Godzilla Minus One was totally brilliant. A moving historical drama with a massive monster and explosions and brilliant, powerful storytelling. The script writing puts Hollywood to shame, with the kind of story it used to tell well. The special effects are reminiscent of peak Spielberg. There are beautiful performances from the actors in a sensitive exploration of modern Japanese attitudes to the second world war. An instant classic. Jane, Derby

Sasquatch Sunset

I’ll admit I was pretty cynical when my husband selected it. He does make some interesting choices. But I can safely say I went through all the emotions when watching it. It made me laugh, it made me tearful and it also made me reflect on many things. The story is simple and yet poignant, with plenty of slapstick thrown in. The scenery is beautiful and the original soundtrack captures the mood perfectly. I love being taken by surprise by films and Sasquatch Sunset delivered on that. Ellie Maidment, 40, Luton

Crossing

I was a huge fan of Levan Akin’s previous film And Then We Danced (2019). He has that incredible ability to transport you to a world you probably know nothing about, be it traditional Georgian dance or underground queer Istanbul. It’s been a good year for humanist film-making (see also Anora), and Akin shares Ken Loach’s gift for making you forget the line between actor and character. Crossing is the story of grouchy retired teacher Lia (a superb Mzia Arabuli), who leaves Georgia for Istanbul to find her transgender niece Tekla. She’s helped (and hindered) by her guide Achi (the brilliantly irritating Lucas Kankava) and the film is largely a two-hander for the mismatched pair. It’s a voyage of discovery and self-discovery, as they explore the understandably suspicious trans community in Istanbul. Crossing is a beautiful film about everything we might consider important – love, family, identity and loss. It wasn’t seen enough on release but deserves a place on the best films of the year list. Tobias, Murcia, Spain

Conclave

Conclave was my favourite, as I enjoyed seeing the contradictions of the holier-than-thou cardinals struggling with faith and navigating power plays. Also the surprise ending was spicy and nourishing. It left me feeling better about Catholicism, because even at the highest levels, religion is run by people who question their beliefs – just like me. Peter Fitzgerald, West Hollywood, USA

Bird

For me it has to be Bird by Andrea Arnold. I was completely engrossed by the world she created, and by the phenomenal performances. It really was a unique experience that I was unpicking for days after; bold, original film-making. And Barry Keoghan serenading a cane toad with Coldplay’s Yellow was my scene of the year. Nick Lewis, 45, Bristol

The Seed of the Sacred Fig

The Seed of the Sacred Fig was a completely believable, realistic explanation of how dogmatic adherence to authority rips families apart, and how the uprising of Iran’s young people played out inside its living rooms. It is incredible that this film was made completely underground, given its production values. It is shocking, and leaves you in complete admiration of the bravery of Iran’s youth and the makers of this film. Jeroen, 59, Wedderburn, Victoria