29 of the contributors of Asian Movie Pulse from America, Europe and Asia have voted the 25 Best Films of 2020, resulting in what we consider a great selection, despite the difficulties the current year presented to both the shooting and the availability of new movies. In that regard, the list includes films from Malaysia, Japan, Iran. S. Korea, Kazakhstan, Singapore, China, and Taiwan while crime thrillers, animations, shorts, LGBT, comedies, horror, black-and-white and even “quarantine movies” have found a place.
Without further ado, here are the best Asian films of 2020, in reverse order. Some films may have premiered in 2019, but since they mostly circulated in 2020, we decided to include them, after an intense fight that lasted for 150 nights (give or take) and ended up with even more victims
*By clicking on the title, you can read the full review of the film
25. Roh (Emir Ezwan, Malaysia)
Graced with a stellar story, plenty of chilling aspects at play and not too many detrimental elements, “ROH” manages to get plenty of entertaining work that succeeds in giving the film a lot to like about it. Give this a shot if you're into these slow-building horror dramas or appreciative of this low-budget style of effort, while only those who prefer the fast-moving action-packed genre feature should heed caution. (Don Anelli)
“ROH” is streaming on MUBI Malaysia
24. I Am Really Good (Hirobumi Watanabe, Japan)
In just over an hour, “I Am Really Good” does not overextend its welcome in any way, while the children and the splashes of humor are entertaining enough to retain interest for the whole duration (Panos Kotzathanasis)
23. The Slaughterhouse (Abbas Amini, Iran)
“The Slaughterhouse” is a blend of social drama and thriller whose message, bleak as it may be, shows the cruel logic of a system based on necessity and economic survival. Abbas Amini's feature cannot be viewed as a “whodunit” since the perpetrator is known, but rather as a study of the world which allows them to roam free and go about their business. (Rouven Linnarz)
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22. True Mothers (Naomi Kawase, Japan)
A strong come back from filmmaker Naomi Kawase, “True Mothers” is a relatable and compelling domestic drama with a twist which will easily appeal also to audience outside the festival circuit. (Adriana Rosati)
21. The Closet (Kim Kwang-bin, S. Korea)
“The Closet” was a rather enjoyable ghost effort. Like most great ghost stories, there's a lot to like here with the general build-up of the story into far greater and more dangerous threats. The element of grief present in the backstory to this one drops a great sense of atmospheric grounding that has a lot to do with what the perception of Ina's behavior change (Don Anelli)
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20. One Cut of the Dead: Mission Remote (Shinichiro Ueda, Japan)
We all strive to go back to the cinema, to a concert, to a play; we are all waiting. In the meantime, lots of us reach out in every possible way. Ueda has chosen to spend some of his quarantine time paying a tribute to his audience and sending a symbolic tickling hand across the computer screen with the clear intent of making us giggle. (Adriana Rosati)
19. Secret Zoo (Son Jae-gon, S. Korea)
The cinematography by Lee Seung-hoon makes it easy on the eyes and the direction keeps it coherent. All the performances are strong as well, which makes it an easy watch. You will enjoy your time at the Zoo, but you wont really care to return. (Robert Edwards)
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18. Wasteland (Ahmad Bahrami, Iran)
“The Wasteland” has some moments that could be described as “too art-house” but Ahmad Bahrami's cinematic eloquence is quite visible throughout the movie, by an artist who is bound to have an impact in the future. (Panos Kotzathanasis)
17. Voice of Silence (Hong Eui-jeong, S. Korea)
“Voice of Silence” is a fascinating and quite gripping blend of drama and thriller. Hong Eui-jeong has created an ambitious piece of work, whose cast and aesthetics are just two aspects within a story that offers a rich, but also grim social subtext. (Rouven Linnarz)
16. Under the Open Sky (Miwa Nishikawa, Japan)
Miwa Nishikawa directs a film that is, simultaneously, sensitive, realistic, pointy, funny and somewhat romantic, with her combining all the aforementioned elements in the most elaborate way. The realism comes from the way the current lives of the yakuza, and particularly of those who have managed to get old, is presented, with Mikami, but even more his former boss, highlighting this comment in the most realistic, but also dramatic fashion. (Panos Kotzathanasis)
15. Project Dreams: How to Build Mazinger Z's Hangar (Tsutomu Hanabusa, Japan)
“Project Dreams: How to Build Mazinger Z's Hangar” is a very entertaining film that highlights how even the most absurd dreams can become true, particularly when conceived in Japan. (Panos Kotzathanasis)
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