This movie landscape, large or small, is gradually repositioning itself in the wake of the pandemic. After a strong year of releases, yet not fully meeting box office expectations, 2023 promised dizzying experiences across the spectrum from big-budget blockbusters to intimate, author-driven cinema. The horror genre stands out as a case in point, with Nicolas Cage stepping into the role of Count Dracula. Spanish cinema aims to consolidate gains in the year ahead. The following is a carefully curated selection of titles that look delicious on the surface, with room to add more: from the live-action take on The Little Mermaid to Napoleon, directed by Ridley Scott and featuring Joaquin Phoenix, and the Leonard Bernstein biopic by Bradley Cooper.
blockbuster empire
We must await the premiere of the highly anticipated blockbuster set for July 14, marking the seventh installment of the Mission: Impossible saga. A concise documentary about the filming of one of its most spectacular sequences has already appeared. The feature Mission Danger: Deadly Judgment consists of two parts, with the second arriving in June 2024.
Thirteen years after Indiana Jones and the Kingdom of the Crystal Skull, Indy’s fifth adventure is ready. Indiana Jones and the Dial of Fate opens on June 30. Harrison Ford returns to the character at age 80, joined by Mads Mikkelsen, Phoebe Waller-Bridge, and Antonio Banderas. It is produced by Spielberg and Lucas and directed by James Mangold, who previously helmed Logan.
Keanu Reeves remains a central figure in the John Wick saga, now approaching its fourth installment scheduled for March. The year’s other anticipated hit is Christopher Nolan’s Oppenheimer, a July 21 release about the physicist behind the atomic bomb. In November, audiences can expect Dune 2, following the spiritual journey of Paul Atreides, with Timothée Chalamet once again in the lead, and Wonka, a December 15 prequel to Charlie and the Chocolate Factory.
In the realm of blockbuster horror, three titles stand out. On the eve of Halloween, Spiritualist by David Gordon Green arrives, focusing on Dracula’s servant and featuring Nicolas Cage as the vampire. Also not to be missed is M. Night Shyamalan’s Knock at the Door, a twisting tale involving a kidnapping at the brink of apocalypse, which premiered on February 3.
Marvel Universe: Phase 5
The year 2023 marks a fresh Marvel slate, Phase 5. It begins February 17 with Ant-Man and the Wasp: Quantumania, charting further quantum adventures for Paul Rudd and Evangeline Lilly, alongside familiar Avengers veterans. Guardians of the Galaxy Volume 3 follows on May 5, with James Gunn at the helm. July 28 brings Wonders, the Captain Marvel sequel, and the debut of African-American filmmaker Nia DaCosta in the Marvel universe.
This Phase also includes the TV series Echo, a Hawkeye spin-off centered on Maya Lopez, the second season of Secret Invasion, and Loki starring Nick Fury. The five-title plan on paper looks less ambitious for titles, with Captain America: New World Order and Avengers: The Kang Dynasty anticipated mid-2024 and into 2025, respectively. A new Spider-Man animation, Spider-Man: Crossing the Multiverse, is also planned for June 2.
Spanish cinema a prosperous new year
The Spanish scene looks vibrant. Víctor Erice returns with Close Your Eyes, a meta cinematic theft that unfolds within cinema itself, featuring José Coronado, María León, and Ana Torrent. Manuel Martín Cuenca, known for Cannibal and Daughter, presents Andrea’s Love, a story about a teen and his younger brothers seeking to win back their lost father’s affection. Fernando Trueba and Mariscal team up again on another animated project, They Shot the Pianist, highlighting Brazilian musical culture. Elena Martín, known for Julia ist, directs and stars in Creatura, a reflection on love and partnership. Elena Trapé’s Els encantats, a tale of separation and growth with Laia Costa and Aina Clotet, continues the year’s Spanish focus.
Daniel Calparsoro steers a muscular thriller in Todos los hombres de Dios, a film about terrorism featuring Luis Tosar and Inma Cuesta. Spain’s horror corridor leans on Víctor García’s Community Girl, with a ghost girl in first-communion garb. The early February horizon also hints at Irati, a tale of Christians and pagans during Charlemagne’s era.
Classy auteur cinema
High production costs and starry casts aside, the continued output by Damien Chazelle, Greta Gerwig, and Todd Field aligns with the current American auteur cinema ethos. Babylon, a tragicomic look at silent-era Hollywood excess, opens January 20 with Margot Robbie in the lead. Robbie also headlines Barbie, Greta Gerwig’s satirical meditation on the iconic doll. Ryan Gosling portrays Ken in the film, released July 21.
Todd Field, having released only three features in two decades with En la habitación, Juegos secretos, and Tár, continues to explore power dynamics and artistic ambition. The second feature delves into a prestigious director and composer musical. Cate Blanchett’s Venice recognition frames the year’s narrative, while January 27 also brings Brandon Cronenberg’s Infinity Pool and Darren Aronofsky’s The Whale, a weighty examination of extremities. Spielberg’s The Fabelmans revisits childhood cinephilia on February 10. No fixed date yet for Megalopolis, Francis Ford Coppola’s anticipated return.
Asian power
Asian cinema remains strong. The Beast, Hirokazu Kore-eda’s latest project, could be among this year’s best-kept secrets, with the director of The Broker keeping details under wraps as filming wraps up. The film is slated to appear at Cannes and then premiere post-summer. Park Chan-wook’s The Decision to Leave is set for a January 20 release, a stylized romantic-crime narrative. The Korean cinema scene continues to push boundaries with Walk Up, a project from Hong Sang-soo’s camp, exploring a filmmaker and his daughter in a building where a fashion designer resides. Parasite creator Bong Joon-ho has Mickey 17 in the works, with Robert Pattinson, Toni Collette, and Mark Ruffalo, expected in early 2024. Hayao Miyazaki bids farewell with How Do You Live, Miyazaki’s final film as a director, signaling the end of an era.