![]() ![]() Without flashy, slick Hollywood fare flooding the zone, the more risky, daring, and original films - with smaller budgets and no nostalgia to rely on as a built-in, audience-grabbing crutch - were the films we got to focus on, and they were often a joy. There was a silver lining, of a sort, for people who write about movies. (I had a lot of conversations that began, “So what are you doing without any new movies to write about?”) Without the marketing engine behind them that massive franchise properties command, and with most debuts happening on streaming services, undifferentiated from one another - or moving to unfamiliar “virtual cinemas” - a lot of people seemed to lose track of film altogether. So while many, many great movies came out in 2020, it felt like most people didn’t really know about them. And each big delay of an anticipated film spurred a new wave of headlines. Perhaps most bizarrely, the tentpole releases that normally prop up the calendar disappeared, pushed into a future that we trust will arrive eventually. The rules and dates for next year’s Oscars changed too. Only a few film festivals - usually anchor points for the year - happened in person, and the rest shifted online or were canceled altogether. ![]() Theaters were closed for months, and remain closed in major markets. Writing about movies in 2020 was, in a word, bizarre. ![]()
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