Level-headed editorial conscience tells me it should appear outside of the list, as it was made by a friend and indeed feels like a film for watching with friends. Special mention goes to Srećan Put, Maximilien Luc Proctor’s feature that CYZ helped premiere with Screen25 in November. It has indeed been a plentiful year for cinema! Honourable mentions for Beginning, The Card Counter, Come Here, Drive My Car, Evangelion: 3.0+1.0 Thrice Upon a Time, Friends and Strangers, Monster Hunter, Naomi Osaka, Old, Procession, Quo Vadis, Aida?, Slow Machine, Tsugua Diaries, We’re All Going to the World’s Fair, and Zack Snyder’s Justice League. Triple-billed History of the Atlanta Falcons, Get Back and Labyrinth of Cinema as a trilogy of living history.
Double-billed West Side Story and Worlds as the past and future of cinema, perfection and innovation of a form.
The History of the Atlanta Falcons (Bois)/ Get Back (Jackson)/ Labyrinth of Cinema (Obayashi). What Do We See When We Look at the Sky? (Koberidze). Wheel of Fortune and Fantasy (Hamaguchi). West Side Story (Spielberg)/ Worlds (Goes). HM: Friends and Strangers (Vaughn), Zeros and Ones (Ferrara), Parallel Mothers (Almodóvar), Bloodsuckers (Radlmaier), Old (Shyamalan), The Velvet Underground (Haynes) Wheel of Fortune and Fantasy/ Drive My Car (Hamaguchi). Wheel of Fortune and Fantasy/ Drive My Car (Ryusuke Hamaguchi)ĥ votes: Bad Luck Banging or Loony Porn Petite Maman What Do We See When We Look at the Sky? Titane The Card Counterģ votes: The Souvenir Part II The Power of the Dog Old BenedettaĢ votes: Zack Snyder’s Justice League A Hero earthearthearth Quo Vadis, Aida? The Dog Who Wouldn’t Be Quiet Zeros and Ones Worlds Get Back Bad Trip Landscapes of Resistance The Girl and the Spider Benediction Come Here France The Ballots. Without further ado, we give you our number one film of 2021: the double-bill of Ryusuke Hamaguchi’s Wheel of Fortune and Fantasy and Drive My Car. At least one of them, if not both, appeared on the majority of the ballots from this year’s poll. One is an epic with larger-than-life themes and iconography that has been a shocking crossover hit the other is, by its very nature, small-scale, minor, attuned to detail, and has yet to find a release in the UK. What’s so endearing about this double-bill is that, despite being recognisably the work of the same filmmaker, they are quite different. To end up with something neater, we gave the double-header from the undefeated filmmaker of the year our number one spot. We ended up with a 3-way tie between one modern musical and two dramas from the same director. In that spirit, it was a crowded race to the top. 
This year, it’s a wonder we were able to fit anything into a top 5, given the absolute wealth of great cinema unleashed across the past 12 months. Last year, we felt lucky to have such a varied end-of-year poll because cinema was arriving at us from such different avenues to normal, if it was arriving at all. If you like what you find at Cinema Year Zero, please consider subscribing to our Patreon for extra content, including essays, podcasts, and more!
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