At the close of 2024, the world of film finds itself irrevocably altered, shaped by the aftershocks of the pandemic. The cinema experience is unlikely to return to the pre-COVID norms, as many film critics have observed during their annual discussions. Dana Stevens, Bilge Ebiri, K. Austin Collins, Alison Willmore, and Odie Henderson, via Slate’s Movie Club, weighed the year’s film offerings, unpacking the possibilities and limitations of today’s cinematic environment.
Stevens noted, “The movie-going experience is never returning to the pre-covid ‘normal.’” This statement starkly highlights the new paradigm of film consumption, where traditional cinema attendance has waned, and audiences increasingly turn to streaming platforms for their movie fix. The requisite shift has been fueled not only by convenience but also by the sheer adaptability of film festivals and niche theaters, which have engaged with audiences effectively under these new parameters.
Collins reflected on his own viewing habits over the year, stating, “Most of the films I watched in 2024 either played at repertory venues... or were streamed,” underscoring the dwindling attendance at traditional theaters. With only one visit to theaters earmarked for the year, the shift from multiplexes to smaller specialized venues is markedly evident. He admits, “I think my New Year’s resolution should be to sit in a crowded, buttered popcorn-scented auditorium at least twice in 2025.”
This sentiment resonates with many cinephiles who find themselves on the sidelines, grappling with the changing mediums of film presentation. The fabric of the movie-going experience has been intricately woven with nostalgic elements—a focus on community engagement and the shared thrill of watching something brand new. Yet, the critics contend there exists “a crisis happening in movie marketing.”
Frustrated by the disconnect between films and potential audiences, they shared anecdotes of everyday cinema lovers unaware of major releases. Stevens recounted conversations with individuals who, though enthusiastic about film, remain ignorant of current offerings. “Here’s a guy who goes to the movies... and yet had no idea The Fall Guy was in theaters,” she shared, reinforcing the notion of marketing as it stands today. Despite aggressive promotions for films like The Fall Guy, there seems to be more effective means of engaging audiences than the traditional routes.
Critics have expressed their concerns about distribution choices leading to remarkable films being buried—sometimes indefinitely. Clint Eastwood’s Juror No. 2 was released with little promotion, limiting its exposure. Stevens noted: “It seemed the studio wasn’t even going to screen it for critics.” Regardless, word of mouth gradually swelled interest, eventually increasing its presence among select theaters.
Among the standout films highlighted this year, Agnieszka Holland’s Green Border emerged as the frontrunner. Critics unanimously agreed upon its portrayal of the refugee crisis through “compelling, brutal and deeply humanistic” narratives. Its resonance across international dialogues about displacement is timely, with the black-and-white filmmaking surged as Holland’s best since Europa Europa.
Other notable mentions include Soundtrack for a Coup D’Etat, delving deep through the lens of American jazz diplomacy and its historical ramifications, and Thelma, featuring June Squibb’s delightful performance as the titular character chasing down the thief of her hard-earned savings. The array of choices reflects varied tastes, from political documentaries to whimsical comedies, showcasing the diversity of storytelling within film.
The critics’ lists, punctuated with vibrant reflections, signaled both celebration and grief—a cathartic nod to the films influencing their personal and professional lives shaped by the tumult of recent years. Stevens pondered the collective experience, raising the rhetorical question, “If there was one underseen movie from this year... what would it be?” Comfortably slipping under the radar, films like No Other Land, acclaimed through festival circuits, exemplified the struggle for theatrical representation during its self-distributed run, mirroring the critics’ conversations—how do smaller productions fight for space amid larger franchises?
With streaming sites offering more films than ever before, it has become easier to overlook significant independent features. Stevens concluded with insight on the future of film criticism and its essence: to spotlight those hidden gems worthy of recognition amid this paradigm shift.
Reflecting on the year-end roundtable discussions, it’s clear the cinematic experience of 2024 has shaped critics’ perspectives, reminding us of the delicate threads weaving cinema, audience reception, and the nuances of contemporary film promotion tactics.
