If you’re familiar with Alex Garland’s body of work, you might not expect him to choose something like Singin’ in the Rain as his favorite musical. Garland is a singular voice in contemporary cinema. Starting his career as a novelist—most notably penning the source material for Danny Boyle’s The Beach—he transitioned into screenwriting with hits like 28 Days Later, Sunshine, and Never Let Me Go. When he took the director’s seat, he quickly gained recognition with films such as Ex Machina, Annihilation, and Civil War.
Garland’s films are often dark, unsettling, and complex. While 28 Days Later might initially seem like just another zombie flick, or Sunshine a typical space thriller, they deliver a unique and disquieting experience that lingers long after viewing.
It’s an unusual distinction for an artist. Do creators ever hope their work will leave audiences feeling mentally and emotionally shaken? Did Garland deliberately craft the eerie, genetically altered bear in Annihilation with the intention of embedding it in viewers’ nightmares? And was he aiming to provoke a new set of societal anxieties?
We may never fully grasp his intentions, as Garland has often kept his cards close to his chest, particularly with Civil War. This film sparked significant controversy for its unflinching depiction of a fictional civil conflict in the United States during a politically tumultuous time. Released amid the 2024 presidential election, it left audiences questioning the motivations behind the war and the stances of both sides, offering a grim reflection on human capabilities in crises.
Given Garland’s filmmaking style, it’s no surprise that his favorite musicals would be both provocative and elusive. In a recent interview with Letterboxd, he shared that his all-time favorite is Bob Fosse’s 1979 masterpiece All That Jazz, praising its “scorching honesty” and admitting he was “blown away” by it.
All That Jazz stands out as a unique musical that blends fantasy with everyday life. Starring Roy Scheider, it serves as an autobiographical glimpse into the life of a famous choreographer and Broadway director who struggles to balance rehearsals for a new musical while coping with the complexities of his relationships, including those with his daughter and ex-wife. Amidst chest pains, he envisions encounters with the angel of death, portrayed by Jessica Lange.
With its masterful combination of sound, visuals, and poignant cinematography, All That Jazz epitomizes the power of cinema. Scheider plays a thinly disguised version of Fosse, embodying charisma, self-absorption, and a deep sense of reflection. The film reads more like a confession than an ego trip, refusing to provide clear answers to the questions it raises. While this ambiguity can be perplexing for some, it’s also why Stanley Kubrick labeled it as one of the greatest films ever made—and why Alex Garland was so deeply impressed by it.
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