RATATOUILLE (2007)

Ratatouille is my favourite film. It’s a true masterpiece, and everything about it is flawless. The voice acting is pitch perfect, the story is emotional and engaging, the visuals are exceptionally detailed, and it meticulously captures every element of a bustling kitchen, from the mouth-watering food to every pot, pan, and utensil. The world that it builds is immersive, making you want to crawl inside its warmth and stay there forever, and the time and attention that went into the film is obvious in every glowing city light and fleeting reflection off the Seine. The unique concept that drives the film lends itself wonderfully to the slap-stick comedy, yet the story at the centre of the film is grounded and humble, especially for a family film. The notion that “anyone can cook” is inspiring, and it can apply to every profession, passion, and pursuit while speaking to the power of perseverance in achieving what you want from life. I could speak about Ratatouille forever, and I believe it more than justifies itself as a perfect film.

THE BABADOOK (2014)

The Babadook is the true definition of horror with heart, and it utilises the genre to its fullest capacity with its visceral exploration of grief, motherhood, and trauma. One of the reasons The Babadook is so impressive is that it rides on the audience’s ability to empathise with the protagonist, Amelia (Essie Davis), who is both the victim and the monster. The film thoughtfully engages with Amelia’s trauma, never indulging in patriarchal tropes of motherhood whilst also having us fear her and her decisions at the right times. The same goes for her son Samuel (Noah Wiseman). He’s incredibly annoying, but the film also makes us feel sorry for him, desperately hoping for his well-being. It helps that the casting is flawless. Wiseman gives one of the best child performances I’ve ever seen, and Davis is captivating and terrifying. The film drags you along for Amelia’s terrifying ordeal, and genuinely keeps you guessing by convincingly blurring the lines between reality and figments of the character’s imaginations. Plus, the character design is simple yet uniquely creepy and original, conjuring up childhood fears of something lurking in the darkest corner of your bedroom. Lastly, and perhaps more importantly, the message is universal, showing that although grief never truly goes away, we can face it head on and deal with it little by little.

MAD MAX: FURY ROAD (2015)

Mad Max: Fury Road might be the best action film ever made (to me at least). The entire film is a perfectly calculated piece of pure non-stop adrenaline, but it doesn't lack substance or emotional engagement, keeping you on the edge of your seat for each and every moment. Every element of the film is distinct, impressive, and memorable, including the exhilarating soundtrack, cinematography, world-building, set design, stunt work, incredible action sequences, and vibrant colours that jump off the screen. The action doesn’t become repetitive either, gripping you in every moment, with not a single shot feeling out of place. Although it may seem overwhelming at times, you can simply focus on any part of any scene to see how deliberate it all is. The practical effects set it apart and contribute to its singular quality, and the mayhem taking place on the screen feels tangible, making you believe the carnage is actually happening. What’s more, Tom Hardy and Charlize Theron are fantastic in their roles, managing to convey tremendous amounts of emotion through their eyes and subtle facial movements alone.

THE WITCH (2015)

The Witch is one of my favourite horror films, and one of the few that is just as impactful no matter how many times I’ve seen it. Robert Eggers’ feature debut quickly establishes a dark, immersive mood before topping it with rising, paranoid tension; an eerie, discordant score; and a sense of historical authenticity that makes it feel like something evil is woven into the fabric of the film. Exploring ideas of Christianity and fears of witchcraft, it explores how the strict moralistic constraints of the time, which mostly concern women, are used against the family to make them turn against each other. All of this is framed by cinematography that emphasises the family’s isolation and heightens the effects of every sound and movement. The performances are also formidable, with a cast including Kate Dickie, Anya Taylor-Joy, and Ralph Ineson, who each shine in their roles and make the period language sound natural. Furthermore, the ending is bonkers and surprising, yet also feels like the most fitting ending for this chilling story.

PETITE MAMAN (2021)

Céline Sciamma’s beautiful film Petite Maman is both heartwarming and heartbreaking, exploring the simple notion that your parents also were children once, with their own unique childhood experiences, fears, and dreams. The film follows the young Nelly (Josephine Sanz), the eight-year-old daughter of Marion (Nina Meurisse), whose mother has just passed away. They travel to Marion’s childhood home to clear out her mother’s belongings, and Nelly meets another girl her age in the woods behind the home. The new friend looks remarkably like her, and they begin a beautiful friendship. The film has a fairytale-like quality that captures the childhood experience in a way that is magical yet realist, and the world it creates is quiet, understated, and mysterious. Some of its impact lies in the fact that it doesn’t rationalise or explain the fantastical situations that happen but leaves them open for each individual's interpretation. At only 72 minutes, the film breezes by but completely secures the audience’s perspective with the young protagonists, familiarising us with their private, intimate world.