‘It gave me such a lift’: Guardian readers’ best films of 2022 | Film

Martin McDonagh is such an incredible writer, and he can direct like hell. Here, he manages to do the impossible and make a film better than In Bruges and Three Billboards. I’ve always adored Farrell and Gleeson, but they both outdo themselves. I cannot wait to see it again. I also wonder if there are any friends who could be expunged from my life … Chris Lycett, 44, Colchester

I saw Wakanda Forever in the theatre on opening weekend, with my girlfriend who is from Nairobi – a hi-tech city in Africa – and she knows some of the languages they spoke and sang. I wanted to draw for Marvel when I grew up, and I, like everyone, found Chadwick Boseman just world class in every way. I am still upset at his passing. Dmitri Kalmar, 48, Manhattan

This Irish language film was a wonderful rendering of a childhood summer away from home, with Catherine Clinch playing the eponymous child. The stillness she creates at the centre of the film and the subtlety accorded to the gradations of change in her new surroundings were set against the coarseness of her own family and led to an emotional and convincing climax, free of sentimentality. A beautiful film. Andy Clark, 61, Whitley Bay

I love being surprised by movies and The Northman did just that. The cinematography was beautiful, with mysterious and dark undertones. The violence and beauty seamed to merge effortlessly. Not to forget the amazing Alexander Skarsgård, Anya Taylor-Joy and Nicole Kidman, who delivered great performances. Leticia Theobald, 40, Stevenage

A familiar story told in a way that is unique to its director. Park Chan-wook toys both with the audience and the characters, inviting us to laugh and feel with them, although none of us know what is going on or where the story is going. It’s a detective noir set in 2022, with the most cinematic usage of smartphones and technology I have seen. If you like the director’s previous movies, you’ll be delighted to see all of his cinematic and storytelling tricks here. Park Chan-wook is at the height of his powers as a manipulator and entertainer. Bojan, 28, North Macedonia

Aftersun is a wondrous debut film by Charlotte Wells. The stars of the film, Paul Mescal and Frankie Corio, both give incredible performances as a father and daughter on a summer holiday in a fading Turkish resort. The actors inhabit their roles in a naturalistic manner and through both what is said and unsaid show a loving, flawed relationship between parent and child. The film felt incredibly fresh for the empathy it had towards both characters. Many moments have stuck with me, but the image of Mescal crying on his bed as well as Corio awkwardly singing while her father refuses to join her are two I have revisited over and over again. Charlie Bailes, 30, Newcastle

The first time I saw this, on a gloomy January weekend, it gave me such a lift that I went back to the cinema a couple of days later to rewatch it. There’s something intangible about its fever-dream, screwball quality that creates a feeling of absolute joy. You can almost hear Paul Thomas Anderson chuckling to himself behind the camera as the perfectly cast Cooper Hoffman and Alana Haim brilliantly bring his lead characters to life. The film has made me smile throughout a trying year simply by thinking about it. I ended up seeing Licorice Pizza four times in the cinema. It is now my favourite movie of all time. Ian McCawley, London

Pixar’s Turning Red is a cute version of the Incredible Hulk where the protagonist turns into an adorable giant red panda whenever she gets emotional. Turning Red is my favourite film of 2022 because everything about it spoke to me: the anime-influenced style, the early 2000s setting, the fixation on boybands, the themes of friendship, fandom and growing up. In short, this film was made for 13-year-old me – and at 31, I loved it too. Carolyn Percy, 31, Bradley Stoke, South Gloucestershire

For me it’s Todd Field’s Tár, hands down. It’s an incredibly well-written, acted and shot film, with such an impressive harnessing of sound as a crucial protagonist. The film offers a complex representation of gender-art power relations and negotiations. As a lesbian, I was particularly thankful for such a layered cinematic portrayal of a lesbian antihero, and I must say I haven’t felt this excited about a sapphic villain since Mulholland Drive. Mima, 46, Zagreb, Croatia

I watched more TV than film in 2022, but Barbarian came out of nowhere and left a mental wound that took days to heal. It followed some horror tropes with finesse, subverted others to great effect, and interwove an unsettling commentary about modern America. Most importantly, it managed to engender terror, revulsion, yet also a reluctant empathy towards the unexpected house guest lurking in the darkness of this little gem. Ray Leon, 54, Brisbane, Australia

After watching this movie for the first time I remember wishing there was a way I could travel to another dimension where I hadn’t yet seen this movie so I could enjoy the experience of having my mind blown all over again. Menzi Reed, 35, Sweden

This accomplished an impossible mission of being better than the original. A film it’s impossible to leave without feeling giddy from emotion, as though you’ve been in Tom Cruise’s jet yourself. Stephanie Herd, 40, Glasgow

No politics, no thought – just stupid fun. I laughed so hard in the theatre, people thought I’d lost my mind or was on drugs. Jackass Forever came at a time when I needed to laugh. Two years of pandemic and too many angry people and all I wanted was a bunch of middle-aged men getting the crap knocked out of each other and cracking up about it. Don Hall, 56, Wichita

Matt Reeves has created a film that is not only incredibly accurate to the comics, but is also an exciting, fresh reintroduction of a character that the audience are familiar with. All the elements of this film work. Michael Giacchino’s unnerving score, the brilliant makeup – especially on Colin Farrell as the Penguin – and the performances are all top tier. Robert Pattinson is transcendent, Paul Dano is terrifying and Zoë Kravitz was born to play Catwoman. Naomi, London

Baz Luhrmann’s Elvis is a stunning, fully theatrical tour-de-force of film-making. Every element is perfectly chosen and put together: music, costumes, sets, which stories to tell, and accurate with just enough cinematic licence to bring the story to life. The tone is perfect, striking the right balance between drama, humour and tragedy. I have to single out Austin Butler as Elvis in what has to be one of the great breakout performances of all time. From the moment he appears on screen, he has you totally convinced that he is Presley. It’s also made me fall in love with Elvis all over again. My partner has asked if there isn’t somewhere I can go to be treated for Elvis addiction. Martin McDonald, 57, Manchester

Nope showed us the dizzying heights that can be reached by blockbuster cinema when it has the right artist at the helm. Sweeping spectacle. Challenging and thought-provoking themes (whose right is it to document anything, let alone a UFO?). Thrilling action set pieces. It helped restore my faith in the Hollywood system this year. Scott, London

I love this film because it sums up society today: soulless influencer, Russian anti-communist, middle-class arms dealers meet poor workers and staff on a cruise ship, all exploited to serve and deliver their customers’ every whim. Except after an explosion on the boat (caused by pirates) their experience on a desert island ensures a role swap. It’s a true Lord of the Flies experience. Oh, and the food poisoning and sea sickness are unforgettable. So funny, so tragic, so disturbing. Jane Warren, West Sussex

My favourite was The Unbearable Weight of Massive Talent, because the love of cinema is palpable, even the silliest jokes land, and the onscreen chemistry between Nicolas Cage and Pedro Pascal is surprisingly heartwarming. It’s the perfect apotheosis of a career in myth-making (as Cage might put it). Robert Howells, 34, London

A dark psychological thriller made all the more disturbing by how realistic it felt. The colour palette is cold, despite being set in Australia, and the minimalist soundtrack imbues the film with tension. As the two main characters circle each other and secrets are revealed, Joel Edgerton and Sean Harris skilfully convey their deteriorating mental state and how the choices they have both made have taken their toll on them. Adam Ridley, 37, Newcastle upon Tyne

For me, it’s The Lost King, starring Sally Hawkins and Steve Coogan, in which the character played by Hawkins embarks on an adventure to locate and unearth the skeleton of Richard III. As a lecturer myself, I particularly enjoyed the way the film pricked the bubble of academic arrogance. The story plays up local “amateur” knowledge, and the consuming passion of pursuing a goal, while remaining true to yourself. It’s a wonderful journey of self-discovery. James Derounian, 65, Winchcombe, Gloucestershire

Martin McDonagh is such an incredible writer, and he can direct like hell. Here, he manages to do the impossible and make a film better than In Bruges and Three Billboards. I’ve always adored Farrell and Gleeson, but they both outdo themselves. I cannot wait to see it again. I also wonder if there are any friends who could be expunged from my life … Chris Lycett, 44, Colchester

I saw Wakanda Forever in the theatre on opening weekend, with my girlfriend who is from Nairobi – a hi-tech city in Africa – and she knows some of the languages they spoke and sang. I wanted to draw for Marvel when I grew up, and I, like everyone, found Chadwick Boseman just world class in every way. I am still upset at his passing. Dmitri Kalmar, 48, Manhattan

This Irish language film was a wonderful rendering of a childhood summer away from home, with Catherine Clinch playing the eponymous child. The stillness she creates at the centre of the film and the subtlety accorded to the gradations of change in her new surroundings were set against the coarseness of her own family and led to an emotional and convincing climax, free of sentimentality. A beautiful film. Andy Clark, 61, Whitley Bay

I love being surprised by movies and The Northman did just that. The cinematography was beautiful, with mysterious and dark undertones. The violence and beauty seamed to merge effortlessly. Not to forget the amazing Alexander Skarsgård, Anya Taylor-Joy and Nicole Kidman, who delivered great performances. Leticia Theobald, 40, Stevenage

A familiar story told in a way that is unique to its director. Park Chan-wook toys both with the audience and the characters, inviting us to laugh and feel with them, although none of us know what is going on or where the story is going. It’s a detective noir set in 2022, with the most cinematic usage of smartphones and technology I have seen. If you like the director’s previous movies, you’ll be delighted to see all of his cinematic and storytelling tricks here. Park Chan-wook is at the height of his powers as a manipulator and entertainer. Bojan, 28, North Macedonia

Aftersun is a wondrous debut film by Charlotte Wells. The stars of the film, Paul Mescal and Frankie Corio, both give incredible performances as a father and daughter on a summer holiday in a fading Turkish resort. The actors inhabit their roles in a naturalistic manner and through both what is said and unsaid show a loving, flawed relationship between parent and child. The film felt incredibly fresh for the empathy it had towards both characters. Many moments have stuck with me, but the image of Mescal crying on his bed as well as Corio awkwardly singing while her father refuses to join her are two I have revisited over and over again. Charlie Bailes, 30, Newcastle

The first time I saw this, on a gloomy January weekend, it gave me such a lift that I went back to the cinema a couple of days later to rewatch it. There’s something intangible about its fever-dream, screwball quality that creates a feeling of absolute joy. You can almost hear Paul Thomas Anderson chuckling to himself behind the camera as the perfectly cast Cooper Hoffman and Alana Haim brilliantly bring his lead characters to life. The film has made me smile throughout a trying year simply by thinking about it. I ended up seeing Licorice Pizza four times in the cinema. It is now my favourite movie of all time. Ian McCawley, London

Pixar’s Turning Red is a cute version of the Incredible Hulk where the protagonist turns into an adorable giant red panda whenever she gets emotional. Turning Red is my favourite film of 2022 because everything about it spoke to me: the anime-influenced style, the early 2000s setting, the fixation on boybands, the themes of friendship, fandom and growing up. In short, this film was made for 13-year-old me – and at 31, I loved it too. Carolyn Percy, 31, Bradley Stoke, South Gloucestershire

For me it’s Todd Field’s Tár, hands down. It’s an incredibly well-written, acted and shot film, with such an impressive harnessing of sound as a crucial protagonist. The film offers a complex representation of gender-art power relations and negotiations. As a lesbian, I was particularly thankful for such a layered cinematic portrayal of a lesbian antihero, and I must say I haven’t felt this excited about a sapphic villain since Mulholland Drive. Mima, 46, Zagreb, Croatia

I watched more TV than film in 2022, but Barbarian came out of nowhere and left a mental wound that took days to heal. It followed some horror tropes with finesse, subverted others to great effect, and interwove an unsettling commentary about modern America. Most importantly, it managed to engender terror, revulsion, yet also a reluctant empathy towards the unexpected house guest lurking in the darkness of this little gem. Ray Leon, 54, Brisbane, Australia

After watching this movie for the first time I remember wishing there was a way I could travel to another dimension where I hadn’t yet seen this movie so I could enjoy the experience of having my mind blown all over again. Menzi Reed, 35, Sweden

This accomplished an impossible mission of being better than the original. A film it’s impossible to leave without feeling giddy from emotion, as though you’ve been in Tom Cruise’s jet yourself. Stephanie Herd, 40, Glasgow

No politics, no thought – just stupid fun. I laughed so hard in the theatre, people thought I’d lost my mind or was on drugs. Jackass Forever came at a time when I needed to laugh. Two years of pandemic and too many angry people and all I wanted was a bunch of middle-aged men getting the crap knocked out of each other and cracking up about it. Don Hall, 56, Wichita

Matt Reeves has created a film that is not only incredibly accurate to the comics, but is also an exciting, fresh reintroduction of a character that the audience are familiar with. All the elements of this film work. Michael Giacchino’s unnerving score, the brilliant makeup – especially on Colin Farrell as the Penguin – and the performances are all top tier. Robert Pattinson is transcendent, Paul Dano is terrifying and Zoë Kravitz was born to play Catwoman. Naomi, London

Baz Luhrmann’s Elvis is a stunning, fully theatrical tour-de-force of film-making. Every element is perfectly chosen and put together: music, costumes, sets, which stories to tell, and accurate with just enough cinematic licence to bring the story to life. The tone is perfect, striking the right balance between drama, humour and tragedy. I have to single out Austin Butler as Elvis in what has to be one of the great breakout performances of all time. From the moment he appears on screen, he has you totally convinced that he is Presley. It’s also made me fall in love with Elvis all over again. My partner has asked if there isn’t somewhere I can go to be treated for Elvis addiction. Martin McDonald, 57, Manchester

Nope showed us the dizzying heights that can be reached by blockbuster cinema when it has the right artist at the helm. Sweeping spectacle. Challenging and thought-provoking themes (whose right is it to document anything, let alone a UFO?). Thrilling action set pieces. It helped restore my faith in the Hollywood system this year. Scott, London

I love this film because it sums up society today: soulless influencer, Russian anti-communist, middle-class arms dealers meet poor workers and staff on a cruise ship, all exploited to serve and deliver their customers’ every whim. Except after an explosion on the boat (caused by pirates) their experience on a desert island ensures a role swap. It’s a true Lord of the Flies experience. Oh, and the food poisoning and sea sickness are unforgettable. So funny, so tragic, so disturbing. Jane Warren, West Sussex

My favourite was The Unbearable Weight of Massive Talent, because the love of cinema is palpable, even the silliest jokes land, and the onscreen chemistry between Nicolas Cage and Pedro Pascal is surprisingly heartwarming. It’s the perfect apotheosis of a career in myth-making (as Cage might put it). Robert Howells, 34, London

A dark psychological thriller made all the more disturbing by how realistic it felt. The colour palette is cold, despite being set in Australia, and the minimalist soundtrack imbues the film with tension. As the two main characters circle each other and secrets are revealed, Joel Edgerton and Sean Harris skilfully convey their deteriorating mental state and how the choices they have both made have taken their toll on them. Adam Ridley, 37, Newcastle upon Tyne

For me, it’s The Lost King, starring Sally Hawkins and Steve Coogan, in which the character played by Hawkins embarks on an adventure to locate and unearth the skeleton of Richard III. As a lecturer myself, I particularly enjoyed the way the film pricked the bubble of academic arrogance. The story plays up local “amateur” knowledge, and the consuming passion of pursuing a goal, while remaining true to yourself. It’s a wonderful journey of self-discovery. James Derounian, 65, Winchcombe, Gloucestershire