James Cameron-Wilson Looks Back at the Year of 2020
What a year. With the UK box-office having posted record-breaking 21st century attendance figures in 2019 (thanks, in part, to unlimited-use subscription initiatives), the New Year galloped in with even meatier numbers, spearheaded by Sam Mendes’ 1917 (the highest-grossing World War I movie of all time) and J.J. Abrams' Star Wars: The Rise of Skywalker. After all the fears over the impact of TV and then the VHS, the multiplex had recovered with an unprecedented vigour. What could possibly go wrong?
Well, you know… The summer of the blockbuster was wiped out, and the release of such big-hitters as Top Gun: Maverick, No Time to Die and Black Widow were pushed back to 2021 (so far). And while most cinemas were forced to close their doors, others scrambled to exhibit more indie fare, providing an unexpected platform for some very interesting works – covered daily by this website. Meanwhile, Netflix, Mubi, Curzon Home Cinema, etc, took up the slack and provided entertainment for the masses while also spotlighting smaller-scale releases of considerable distinction.
It was a very strong period for female-directed pictures, too, with a comely crop arriving in time for Oscar glory next year: in particular Kirsten Johnson's Dick Johnson is Dead, Dawn Porter's John Lewis: Good Trouble, Emma Dante’s The Macaluso Sisters, Chloé Zhao's Nomadland, Regina King’s One Night in Miami, Sofia Coppola’s On the Rocks, Emerald Fennell's Promising Young Woman and Garrett Bradley's Time.
Likewise, it’s proved to be a healthy time for the documentary, with two non-fiction gems just missing my top-ten by a whisper: Jeff Orlowski's alarming The Social Dilemma and the Keaton tribute, The Great Buster: A Celebration, while the miraculous, gut-wrenching I Am Greta (below right) made second place on my list. So, the cinemas may be all but dormant, but Cinema is still thriving.