best film: Park Chan-wook’s Decision to Leave stands tall – a cut or two above the rest – as far as the best in cinema goes for 2022. There is not much separating the second best film of the year and the tenth best film of the year but there was no hesitation here for this top slot. Park Chan-wook is a meticulous artist – and so is his protagonist here – Jang Hae-joon (played ably by Park Hae-il). Jang Hae-joon is a detective caught in a cat and mouse romance mystery (Park Chan-wook actually provides two mysteries for the price of one here inside the film) with Song Seo-rae (Tang Wei) cloaked in sumptuous seas of greens and blues. Park Chan-wood utilizes a few camera zooms – this is story partially relying on surveillance. This is a complex, interwoven narrative that is not without humor. Ryu Seong-hie’s (production design – Memories of Murder, Old Boy, The Handmaiden) leaves no stone unturned with the décor. There is a green toothbrush, the teal bucket that Song Seo-rae uses to bury the bird (key scene), the teal empty pool. It is even mentioned in the text – “her green dress was pretty… wasn’t it blue?” Park Chan-wook paints both the color of the sky and the color of the sea in the finale. There are too many highlights to mention in one short paragraph – but Park Chan-wook’s frame is strikingly set as the two central characters arrive at her place in Buscan – stunning wallpaper – almost halfway through the film. And the Songgwangsa Temple scene blows any other individual scene from 2022 out of the water.
among the finest cinematic paintings of 2022
most underrated: There are a few candidates here. Out of the twelve (12) best films of 2022 – a whopping seven (7) did not land on the TSPDT top fifty (50) of 2022. This is, assuredly, more than a little disheartening to see. The Northman is the best of those seven (even if the margin is not much) so that is a fine choice to take this category. This miss is a bit baffling for the critics. But at least The Northman had solid reviews. Films like Bardo, Men, Babylon, Blonde, Copenhagen Cowboy, and White Noise were all below a seventy (70) score on metacritic and all among the best films of the year artistically.
Robert Eggers describes The Northman as Andrei Rublev meets Conan the Barbarian. Eggers, clearly an auteur of note and talent, cares about archeology and mythology both – he is a curator, a researcher.
a dazzler from Eggers’ third feature- without a doubt, he is one of the most promising voices in cinema in 2022
from Blonde – for any cinephile, the graphic match edit at the 42 minute mark of the bed sheets to the Niagara waterfall is one of the most memorable moments in cinema for 2022
Andrew Dominik’s Blonde could be described as a nightmare – Requiem for a Dream, Mulholland Drive, and the work of Lars von Trier come to mind. “I’d like to see Hell close up” is in the text (from Marilyn’s mother). The roses in soft focus here (semi-reminiscent of Michelangelo Antonioni’s use of flowers in Red Desert) creating a frame within the frame of Marilyn (Ana de Armas). There are astonishing sequences aplenty in Blonde, but often the shot choice or stylistic tool employed is a one-off never to be repeated to help give the film a greater cohesive form.
a breathtaking frame from Alejandro González Iñárritu’s Bardo. Guillermo del Toro (admittedly a friend of Iñárritu’) was one of the defenders of Bardo and his description of form vs. content should be read https://www.indiewire.com/2022/11/guillermo-del-toro-defends-bardo-1234784634/ . “…it’s extremely hard to explain how one of the aspects that has been the least [talked-about] of this movie is the cinema of it, and I find it absolutely flabbergasting. Seeing a Van Gogh and asking for an opinion, and the opinion is, ‘Well, it’s about some flowers in a pot.’ The flowers are OK, the pot is nice, but nobody talks about the brushstrokes, the colors, the thickness of the paint, the color palette. It’s astounding to me.”
from Nicolas Winding Refn’s 5 hour and 12 minute Copenhagen Cowboy. The ending sort of fizzles out (a trend this year – even among some of the best films of the year). But Refn’s film is paced, draped in neon, and about revenge (clearly auteur cinema). There are Barry Lyndon-like slow zooms and a strong Cliff Martinez new wave score. There is a magnificent blue indigo day for night shot to open the second chapter.
most overrated: There are a few nominees here as well. EO from Jerzy Skolimowski is a thought-provoking update on Robert Bresson’s Au Hasard Balthazar but it is not an original idea and there is not enough visually (aside from one stunning frame on the bridge) to support its ranking in the top ten of the year. David Cronenberg’s Crimes of the Future is just outside the top ten on TSPDT’s list and though it is undoubtedly auteur cinema – there are a number of films from 2022 that surpass it. Also, through three films in his career, Jordan Peele is unquestionably an auteur. But top five for Nope seems hard to support with evidence from the film – at least in comparison to someone like Alex Garland and something like Men.
trends and notables: This is the third full year of the 2020s and the third underwhelming year in a row in cinema. This all starts with 2020 and the global pandemic (the correlation is hard to track – but it seems necessary to mention). And, notably, this is all in the wake of 2019 – one of cinema’s finest single years. The depth of sheer archiveable films is there – probably due to the continued sheer volume of films that continue to get made and released (even if the options seem more limited in the theater). Undoubtedly, the ongoing discussion between theatrical release windows and streaming services seems to dominate much of the discourse in the 2020s (at least when not talking about COVID – which seems to be farther in the rearview as part of of the discussion here in 2022). Netflix gave some artists a plenty of freedom in 2022 and the results account for four (4) of the top twelve (12) films of the year. Netflix’s biggest competitor, as far as companies helping support the auteurs, is A24. A24 had an indie box office revelation with Everything Everywhere All at Once earlier in the year and then of course it won an impressive seven (7) Oscars early in 2023. A24 had a hand in White Noise (so did Netflix), Pearl, Bodies, Bodies, Bodies, Men, X, and many others. 2022 is also a good reminder of the strength of the South Korean New Wave. Park Chan-wook is certainly either 1 or 1A with Bong Joon-ho as this movement’s Godard and Truffaut. Top Gun: Maverick also should be mentioned as a great film that brought many people back to the theater for the first time in years. Lastly, one could dedicate almost this entire page to the list of ambitious films that polarized critics: this is your Blonde, Babylon, Bardo (and frankly Men and White Noise belong here, too). They all have their problems, but they all hit artistic heights that the other films of 2022 (aside from the almost flawless Decision to Leave ) clearly do not.
from The Daniels (Daniel Kwan and Daniel Scheinert) and A24. Everything Everywhere All at Once is the best edited film of 2022. There is some Sergio Leone influence, some Wachiowski influence – and Charlie Kaufman, too. But this is wholly their own – and like all good auteur cinema – it actually makes Swiss Army Man (their previous film together – from 2016) a better film – it is now a piece in a larger, connected collection.
Alex Garland’s Men. The flashback sequences are all shot in this magic hour golden hue. The tunnel sequence here is a highlight – and Garland cares about color (green and red in particular). Sadly, the third act does not fully land – but it is at least a companion with Garland’s Annihilation (2018) and that bizarre ending as well.
the 1930 Best Picture winner All Quiet on the Western Front gets a worthy update in 2022 from Edward Berger
gem I want to spotlight: It may be worth pointing out the strong year horror had with Barbarian, Smile, and X. But this space here goes to Noah Baumbach’s White Noise. There are stories about the troubled, overbudget production, the idea of the Don DeLillo’s complex novel being “unadaptable” but time and time again in cinema, the follow-up to a director’s strongest work is far too easily brushed aside upon initial release. If 2019’s Marriage Story does go down as his career peak, then set your watches for 2032 or 2037 when a reappraisal is had for White Noise. The film is highly literate, witty – “she has important hair” and “you’re using the real event to rehearse the simulation?”, Altman-like overlapping dialogue, 360-shots (one of the family in the car, one in the garage with Adam Driver as he sifts through the garbage). Baumbach brings back his strong dissolve edit work here he used in Marriage Story, brilliantly uses color (heavy greens and reds) and there is even a jaw-dropper of a split diopter shot towards the end in the hotel room with Driver and Lars Eidinger.
Baumbach’s White Noise is an ambitious film – continuing the visual splendor he put on display in 2019’s Marriage Story. The shot here from the 55 minute mark- silhouette of two with main actors.
Wall art magnificence here from White Noise
best performance male: Jeffrey Wright is a veteran actor with now double digit archiveable films dating back to 1990, but he is undeniably riding a career high in 2021 and 2022 with The French Dispatch and The Batman in back to back years. Wright may not make the mentions here for either of the two years alone, but when stepping back and combining the two – there is no choice at all to include Wright here in this category. In Matt Reeves’ The Batman, Wright plays the Lieutenant James Gordon character. Since Reeves is heavily influenced by David Fincher, particularly Se7en, Wright is the veteran Detective Somerset Morgan Freeman role. It is worth pausing on Alexander Skarsgård for his work in The Northman and Hae il Park in Decision to Leave applaud them for their work – but there is still a little doubt as to whether another actor, given those prime roles, makes for the easy choice as performance of the year.
best performance female: It is is a dead heat here with Cate Blanchett’s bigger than life work as titular Lydia Tár in Todd Fields’ esoteric, yet sensational character study. Blanchett dazzles in the long take lecture shot at Julliard. Her character is almost haunted by per skills as a musician (there is no doubt she wields it like a power weapon) – attuned to very sound – keeping her awake at night as she walks that fine line between madness and genius. Like Taxi Driver (1976)and The Piano Teacher (2001) there is an inevitable downward spiral (highlighted with Blanchett bellowing out her “apartment for sale” accordion song). Blanchett’s rival in this category Tang Wei as Song Seo-rae in the year’s strongest film. Wei is a sort of modified femme fatale and even if the viewer is aware of Park Chan-wook’s penchant for narrative twists – Wei is up the challenge – playing both sides of the coin.
Tang Wei gives the best performance in the best film of the year
top 10
- Decision to Leave
- The Northman
- The Batman
- Copenhagen Cowboy
- Bardo: False Chronicle of a Handful of Truths
- Everything Everywhere All at Once
- White Noise
- Babylon
- Men
- Tár
Matt Reeves is influenced by David Fincher for The Batman – and clearly by Edward Hopper’s famous Nighthawks painting here as well. There is also a genius James Gray We Own the Night-like (2007) car chase in rain and darkness.
it never reaches Fury Road – but George Miller’s follow-up Three Thousand Years of Longing has some exceptional moments : overhead shots, establishing shots, and that final crane shot as they walk off into the sunset. Terry Gilliam (particularly The Adventures of Baron Munchausen) seems is an important text of influence here.
from Kenneth Branagh’s Death on the Nile – the film (particularly the first half hour) is impeccably crafted. This symmetrical composition here at the 17-minute mark is just one of many. Branagh shoots in 65mm and it pays off here – an undeniably handsome film.
Jerzy Skolimowski doing Bresson here in EO. The shot of the bridge in front of the dam at the 79-minute mark is simply sublime.
Martin McDonagh’s ongoing body of work on feuds and vendettas – here in 2022’s The Banshees of Inisherin. This was a tough film to leave off the top ten of the year.
Archives, Directors, and Grades
| A Love Song – Walker – Silverman | R |
| All Quiet on the Western Front – Berger | R/HR |
| Amsterdam – O. Russell | R |
| Apollo 10½: A Space Age Childhood – Linklater | R |
| Argentina, 1985 – Mitre | R |
| Armageddon Time – Gray | R |
| Babylon – Chazelle | HR |
| Barbarian – Cregger | R |
| Bardo: False Chronicle of a Handful of Truths – Iñárritu | HR/MS |
| Blonde – Dominik | HR |
| Bodies Bodies Bodies – Reijn | R |
| Cha Cha Real Smooth – Raiff | R |
| Copenhagen Cowboy – Refn | HR/MS |
| Crimes of the Future- Cronenberg | R |
| Death on the Nile – Branagh | R |
| Decision to Leave – Chan-wook Park | MS/MP |
| Elvis – Luhrmann | R/HR |
| Empire of Light – Mendes | R |
| EO – Skolimowski | R |
| Everything Everywhere All at Once – Scheinert, Kwan | HR/MS |
| Fresh – Cave | R |
| Glass Onion: A Knives Out Mystery – Johnson | R |
| God’s Country – Higgins | R |
| Guillermo del Toro’s Pinocchio – del Toro, Gustafson | R |
| Kimi – Soderbergh | R |
| Men – Garland | HR |
| Nope – Peele | R |
| Prey – Trachtenberg | R |
| RRR – Rajamouli | R |
| She Said – M. Schrader | R |
| Smile – Finn | R |
| Tár – Field | HR |
| The Banshees of Inisherin – M. McDonagh | HR |
| The Batman – Reeves | HR/MS |
| The Good Nurse – Lindholm | R |
| The Menu – Mylod | R |
| The Northman – Eggers | HR/MS |
| The Pale Blue Eye – S. Cooper | R |
| The Unbearable Weight of Massive Talent – Gormican | R |
| The Woman King – Prince-Bythewood | R |
| The Wonder – Lelio | R |
| Thirteen Lives – Howard | R |
| Three Thousand Years of Longing – G. Miller | R |
| Top Gun : Maverick – Kosinski | R/HR |
| Triangle of Sadness – Östlund | R/HR |
| Vengeance – Novak | R |
| Watcher – Okuno | R |
| White Noise – Baumbach | HR |
| Windfall – McDowell | R |
| Women Talking – Polley | R |
| X – T. West | R |
*MP is Masterpiece- top 1-3 quality of the year film
MS is Must-See- top 5-6 quality of the year film
HR is Highly Recommend- top 10 quality of the year film
R is Recommend- outside the top 10 of the year quality film but still in the archives
*** one final note here. Unfortunately, at the time of putting this page together, I was unable to get to as high a percentage of the best reviewed films of the year as I normally do. My apologies. So before you ask, I was not able (at least at the date of writing here) to get to films like Aftersun, The Fabelmans, Avatar: The Way of Water, Bones and All, The Whale, Saint Omer, and The Eternal Daughter.
A Haunting in Venice was incredible. Branagh goes full Orson Welles in this one(ceiling as mise-en scene, Dutch angles). With some elements of Fassbinder like shooting a conversation outside from a window. Although the bleak cinematography that pervades throughout where the majority of the film takes place reminds me of Visconti’s The Damned. With that green shade.
@Lionel- Very exciting – thanks for sharing
How did the Academy Awards manage to snub Decision to Leave even as a best International Feature Film nominee when it was actually the best picture of the year? Insane.
Second is how would you rank his top 5 performances? I think he deserves a mention at least once in probably 1990, 1995, 1997 or 2002 for his body of work. He is the lead actor in almost all of his good movies and there is a lot here. My top 5 Nic Cage performances would be:
1.Leaving Las Vegas(1995)
2.Adaptation(2002)
3.Face/Off(1997)
4.Wild at Heart(1990)
5.Matchstick Men(2003).
@Lionel- Great list here- thanks for sharing. I’ll let others chime in if they’d like of course. I do not have the bandwidth right now to give this Cage top 5 justice.
1. Adaptation
2. Wild at Heart
3. Leaving Las Vegas
4. Bad Lieutenant: Port of Call New Orleans
5. Raising Arizona
6. Pig
7. Joe
8. Bringing out the Dead
9. Red Rock West
10. Snake Eyes / 8MM
I wanted to ask two questions about Nic Cage. He is in a lot of movies this year and Dream Scenario seems to be getting good reviews. First is have you seen Color Out of Space(2019)? This is certified fresh on RT and seems to be soaked in the color pink.
@Lionel- Not yet on Color Out of Space
Branagh’s A Haunting in Venice seems to be getting the best reviews of his Hercule Poirot series. I think it helps(in terms of reviews) not being a remake like the other two. Even though this cast is probably the least star-studded of the three. Are you going to see it this week?
@Malith- TBD for me
2022 is such a weird year for cinema. A lot of these best of the year films got panned. But still got Oscar nominated in some category(Bardo-best Cinematography, Babylon-3 Noms, Blonde-best Actress). Empire of Light got panned but still was nominated for best Cinematography. The Copenhagen Cowboy is a TV series that only released worldwide in 2023. Ditto for Master Gardener. Only released Worldwide this year. There is a big difference between the top 10 here and the top 10 actually nominated by the Oscars. Only 2 films made both lists.
Oscar best Picture nominees:
Everything Everywhere All at Once
All Quiet on the Western Front
Avatar: The Way of Water
The Banshees of Inisherin
Elvis
The Fabelmans
Tár
Top Gun: Maverick
Triangle of Sadness
Women Talking
Top 10 here:
Decision to Leave
The Northman
The Batman
Copenhagen Cowboy
Bardo: False Chronicle of a Handful of Truths
Everything Everywhere All at Once
White Noise
Babylon
Men
Tár
And lastly what a shocker from the Oscar voters to not even nominate Decision to Leave after making the shortlist.
Are works made for Television the best it’s ever been with works like Homecoming(2018), Refn’s Too Old to Die Young(2019), McQueen’s Small Axe(Mangrove, Lovers Rock, Red White and Blue, Alex Wheatle, Education), Cianfrance’s I Know This Much Is True(2020), Jenkins’ Underground Railroad(2021) and again Refn with Copenhagen Cowboy(2022)?
@Anderson- Certainly the sheer volume of like 4 hour+ or more archiveable films (often via Amazon/Netflix) has increased in recent years
Hello, have you seen Incantation? I thought it was excellent and it has some great critical reviews as well.
@Azman Thanks for the recommendation – not a film that was on my radar
You’re welcome. I’m glad I could recommend something as well. I have been frequenting this website for a few years now and I have gotten so many great recommendations as well and I have really changed over the years too (in regards to cinema etc).
Regarding incantation, I believe (but not very sure) it’s the highest grossing Taiwanese horror film of all time.
Grant Watson believes its the best horror film of the year and one the best films of the year and I am inclined to agree.
I know it’s not very heard of so I will try to give my reasons why may want to give it a watch. Basically things to look out for.
Look at some of the performances and the mise en scene as well as the direction. I think you’d be very pleasantly surprised.
I won’t say more as it may spoil the film but I’m really interested in your opinion on the film if you do decide to watch it and I am curious to see if it cracks into the archives.
@Drake – have you seen either Godland or Pacifiction??
@Harry – yes on Pacification and no so far on Godland but did see it is available on Criterion streaming. How about you?
Nanny (2022) 1st feature film from Nikyatu Jusu. This from Wikipedia:
“Nanny had its world premiere at the Sundance Film Festival on January 22, 2022, where it won the Grand Jury Prize, making it the first horror film to ever win this award at Sundance. ”
Atmospheric horror film, some similarities to Polanski’s “Apartment Trilogy” Some similarities to Get Out (2017), I think this one was more impressive visually, though Get Out is the better screenplay. Also, some impressive framing with close ups on faces.
Impressive color palette, particularly purple and
Suicide by Sunlight (2019) is a 17 min short worth checking out on Criterion Channel directed by Nikyatu Jusu. It has visual similarities to Nanny (2022) in particular the color palette which features shades of blue and purple. But also the use of close up and profile shots. Here’s a quote from Jusu from Sundance in 2022:
““I think horror is a fun way to tap into socially resonant themes,” Jusu said. “I never wanted to make anything that was like a PSA. I just love the style of cinema and and stylization and playing with all the tools in my arsenal, and I think when you’re into the darker genres, you’re allowed to play with every facet of filmmaking in a way that is just exciting”
Seems like a filmmaker to keep an eye on
What is the superior Death of the Nile film? This one or the 1978 original?
@Lionel- They’re really on the same plane- and I have them both in the archives now. Kenneth Branagh’s direction is stronger than John Guillermin’s – so that would get the edge.
Hi drake, I’m wondering if you had the chance to catch aftersun? You mentioned that so many films in 2022 don’t land. I thought this one really did. Not sure if I love the found photage element but so much of this film so good. I think it’s an MS by your rating. And Paul Mescal would easily be the best male performance of the year in my book. Love your website btw
@Jagman- Thank you for the kind words on the website. I have seen it, but just once and I’m not sure that is enough for a film like Aftersun.
Have you seen any Travis Stevens’ films? A Wounded Fawn(2022), Jakob’s Wife(2021), Girl on the Third Floor(2019)?
@Lionel- Not as of yet- nope
Is Spielberg’s The Fablemans(2022) in the archives? How many archivable films does he have now? 25? 30?
@Lionel- Yes, and 23
@Drake – Have you seen Nanny (2022) from Nikyatu Jusu? I saw it on a list of best 2022 films. I had not heard of this director before probably because this was her debut feature film although she has made some Shorts.
@James Trapp – I have not
Hi Drake, any recommended films from this year worth pointing out yet? So far I think only John Wick 4, Beau is Afraid, Across the Spiderverse, Guardians of the Galaxy 3, Infinity Pool and Knock at the Cabin are archivable, but not sure if there is anything else worth looking at that might have gone under the radar.
@DeclanG- BlackBerry is probably the strongest of the ones not mentioned here.
Is To Leslie(2022) in the archives? Which brought Riseborough a controversial Oscar nomination.
@Lionel- It is – yes. Caught it a few months ago.
I’m interested to know if Master Gardener is included in this archives here? Not sure if it counts as a 2022 or 2023 film.
@Lionel- It is in the archives, and it is 2022 (I use the premiere date) but caught it after this page was published – so it isn’t on the 2022 page yet. It will be on the next update.
@Drake – how is Master Gardener? Not showing here but really anticipating its streaming release if that comes
@Harry- It is rock solid- certainly a companion piece to First Reformed and The Card Counter (I’ve seen it called the “Man in a Room” trilogy) and the weakest of the three – but that is no insult.
@Drake – if you remade this page today does Joel Edgerton land in the best performances? I thought he was very good, intense. Also excellent in The Underground Railroad, he’s been choosing good projects in the 2020s
@Harry – Well said. Edgerton is a very good actor who, perhaps, has an even better sense of adventure taking on roles with auteurs. I am not sure I’d add him for 2022 yet.
@Drake – I was wondering which film you think is superior – Oldboy or Decision to Leave?
@LeBron Smith- Decision to Leave
Hmm. I see you have archived RRR here. You should definitely see the two Baahubali films from Rajamouli in chronological order which he made before RRR. I think RRR runs out of steam in the final part. While this doesn’t really happen in the Baahubali films. The second one has an epic conclusion.
@Anderson- Thank you for the recommendation
Hey Drake,
Have you had a chance to catch Bones and All yet? I really enjoyed it and I am wondering what you thought of the film and the performances. Love the website.
@Gohan- Appreciate the kind word on the site. I have- I saw it the same night as Spielberg’s The Fabelmans as I catch up on some of the 2022 films I missed in the calendar year. Guadagnino’s film is the better of the two. Chalamet and Russell were great. What did you think?
Hello everyone, just wanted to say how this is a great community and probably the best forum for discussing film. I’m still an absolute beginner compared to all you guys, but I’d thought I pop in and say hi and share my current top 25 movies. https://letterboxd.com/primus43/list/top-25-films/
@Christopher- Thank you for visiting the site and the share here. That is a rock solid top 25.
@Christopher – hope you see you around the site more
Hello Drake, just wondering if you had any time to watch The Fabelmans – and, if so, whether you liked it or not.
@Gabriel Paes- I have, and I liked it- I’d like to get to it another time before writing more on it. How about you? What did you think?
Hello Drake, will you update the page after you get to see Aftersun, The Fabelmans, Avatar: The Way of Water, Bones and All, The Whale, Saint Omer, and The Eternal Daughter?
@Oliver- I do not think so, I mean all of the yearly archive pages, director pages, and actor pages get updated in sort of a rotation.
@AltMash – hopefully this doesn’t join the lore of legendary artists unfinished works a la Orson Welles
Just a suggestion but maybe you could update the 3 pages (2020, 21, 22) before putting your 2023 page.
The last 3-4 years have been pretty weird so it would be nice to get it all together at the same time.
You have done the 50 films for the decade so that works too tbh.
@Drake – I know you have said you typically do not watch or at least do not do track and grade documentaries or TV series. With Copenhagen Cowboy being a Netflix Series, just out of curiousity what made you interested in grading a TV series? Are there any other Series in the archives?
Several other directors like Bergman, Tom Hooper, Derek Cianfrance, Guadagnino, Kieslowski, and Barry Jenkins have TV series in the archives too. It’s no coincidence that all of these are auteur-driven. My (fairly confident) guess is that Nicolas Winding Refn’s name was attached, since that is all it took to draw me to it as well.
@James Trapp- I don’t know about the word “series” here. This was a 5 hour and 12 minute film-like undertaking entirely directed by Nicolas Winding Refn. So yeah, I was going to check it out (and am glad I did). I go where the artist is- and plenty of others in the archives over the years in a similar vein.
@Drake@DeclanG – okay, in that case I’m assuming you’ll be watching this
https://www.nme.com/en_asia/news/tv/blossoms-shanghai-wong-kar-wai-trailer-in-the-mood-for-love-2046-3342909
I think they are not finished shooting yet. It started filming in September of 2020, its been three years now. Not sure when this will be released but looks interesting.
binged the tv-series Beef by A24 and Netflix yesterday, that’s definitley something I could see being archives, best series I have seen in years.
@Oliver Wätthammar Santesson- Thank you for Sharing Oliver