As we wrap up the yr, a certain quantity of reflection inevitably takes maintain. We’re taking inventory of the issues we liked finest, from movies to TV reveals, performances and scores and cinematography, oh my, and looking forward to what we will’t wait to see in 2025. Out of the blue, we’re reminded of all the great things (and, sure, there’s at all times great things) from months that beforehand felt very a lot within the rearview.
In that spirit of celebration, we right here at IndieWire have opted to convey again an outdated devoted: an inventory of a few of our favourite (and, ideally, finest) tales of the final 12 months. From deep dive interviews to huge ticket profiles, biting investigations to considerate analyses, and loads of crucial assessments, right here’s your must-read listing of IndieWire’s 2024 hits.
In brief: it’s an inventory of the tales that outlined our yr in work, in passionate movie-going, in obsessive TV-watching, and far more. We hope you’ll love (or already liked) them too.
Take a look at all of IndieWire’s Better of 2024 protection proper right here.
Deep Dive Interviews and Large Ticket Profiles
Anne Thompson profiles Adrien Brody forward of the discharge of Brady Corbet’s “The Brutalist”
Erin Strecker interviews John Mulaney as he readies to simply accept his first-ever IndieWire Honor
Kate Erbland checks in with Glen Powell on the tail-end of a really loopy yr
Chris O’Falt and various fantastic voices contextualize the legacy of Harris Savides
Ryan Lattanzio speaks with Isabella Rossellini about these David Lynch rumors
Erin Strecker talks to Rachel Bloom about comedy and dying (hand in hand!)
Anne Thompson interviews Mike Leigh on the cusp of the discharge of “Laborious Truths” and within the midst of a altering world
Sarah Shachat profiles the true breakout star of final, this, and any yr: Messi the canine
Marcus Jones talks to the disarmingly open Aunjanue Ellis-Taylor about “the gradual burn of recognition”
Kate Erbland crowns Kirsten Dunst our “most affordable film star”
Christian Zilko goes lengthy with Kelsey Grammer as he prepares to tackle Fraiser Crane once more
Proma Khosla talks to Carla Gugino in regards to the scene that “went towards each pure intuition”
Christian Zilko finds out why Kevin Smith purchased his childhood theater
Anne Thompson sat down with a really trustworthy Kevin Costner at Cannes
Jim Hemphill talks to Michael Pressman about his beforehand deserted, now beloved “Boulevard Nights”
Mark Peikert goes to heaven with “Lodge Cocaine” star Mark Feuerstein
Vincent Perella talks all issues Mendendez brothers with Javier Bardem
Veronica Flores examines the sexiness of “Challengers” with Zendaya
How (or Why) Did They Do That?
Chris O’Falt walks Michael Mann and his collaborators by how they formed the look of “Collateral” and “Miami Vice”
Ryan Lattanzio dives into the ending of “Anora,” with assist from Sean Baker and Mikey Madison
Brian Welk asks (and solutions) the massive query: How will theaters deal with that stay scene in “Megalopolis”?
Tony Maglio offers the oral historical past remedy to a beloved “Saturday Evening Stay” sketch
Invoice Desowitz on the “bignormous” modifying of “Dune: Half Two”
Sarah Shachat takes a chew out of the “Sizzling Ones” manufacturing course of
Tony Maglio affords a passionate plea for “Highway Home” in theaters, as God (and Doug Liman) dreamed
Brian Welk examines the altering face of the documentary “Eno”
Investigations, Analyses, and Different Nearer Appears to be like
Alison Foreman goes head-to-head with the unusual and troubled historical past of Improbable Fest’s fights
Chris O’Falt investigates: Did a Trump-Supporting Financier Attempt to Catch and Kill “The Apprentice”?
Ben Travers wonders: Is Nicole Kidman Making Too A lot TV?
Tom Brueggemann, properly, we’ll simply let this headline stand by itself: They Don’t Climax in IMAX — or, Why Movies with Horny Sizzle Are Uncommon Right this moment
Chris O’Falt goes to SXSW and wrestles with the inflow of synthetic intelligence in a artistic house
Brian Welk dives into how “Terrifier 3” maximized a really small advertising funds, to scary-good impact
Proma Khosla affords a deep evaluation of the dying of the Bollywood heroine
Jim Hemphill examines the persevering with enchantment of Clint Eastwood as “Juror #2” arrives, alongside one other traditional
Sarah Shachat examines the true historical past behind “Gladiator II”
Tom Brueggemann goes in search of American cities with out film theaters, and finds far too many
Christian Blauvelt explores the magic of ABC Information’ eclipse protection
Marcus Jones chronicles Drew Starkey’s “Star Is Born” second at Venice
Alison Foreman discusses the missteps of “Quiet on Set” with precise survivors
Samantha Bergeson explores what actually occurred for feminine creatives after the yr of “Barbie”
Feats of Criticism and Curation
David Ehrlich evaluations Francis Ford Coppola’s “Megalopolis” (and the very future of flicks)
Ben Travers evaluations the thorny collection “Disclaimer”
Ryan Lattanzio falls laborious for Luca Guadagnino’s heartbreaking “Queer”
David Ehrlich evaluations the beautiful documentary “No Different Land” out of Venice
Wilson Chapman picked the most effective musical of all time (and 99 extra)
Harrison Richlin compares Sean Baker’s “Anora” with Frederico Fellini’s “Nights of Cabiria”
Christian Blauvelt examines the risk-taking of “The Acolyte,” and why its cancellation is dangerous for “Star Wars”
Kate Erbland evaluations Pamela Anderson in a career-defining function in Gia Coppola’s “The Final Showgirl”
Proma Khosla grapples with the fourth season of “Solely Murders within the Constructing”