When Christmas rolls around and the air fills with cinnamon, regret, and manufactured cheer, I develop an entirely predictable craving for cinematic comfort food. These are not “Christmas movies” in any socially acceptable sense. There are no Santa hats, no snow-dusted small towns, no redemption arcs sponsored by cocoa. And yet, for me, they function perfectly as holiday films because they cocoon me in familiarity and nostalgia. Even when they drift into dystopia or melancholy, they deliver me to a place of psychic warmth. My private Christmas canon includes What’s Eating Gilbert Grape (1993), Eversmile, New Jersey (1989), Sideways (2004), Walkabout (1971), Brazil (1985), Blade on the Feather (1980), Dr. Fischer of Geneva (1984), La Strada (1954), The King of Comedy (1982), Fantastic Voyage (1966), The Holdovers (2023), Licorice Pizza (2021), and Willy Wonka and the Chocolate Factory (1971). This is not a list; it’s a confession.
This year, I mounted a quiet but determined campaign to anoint What’s Eating Gilbert Grape as the family’s official Christmas movie. I made my case with restraint and dignity, which is to say I made it once and then silently resented the outcome. My daughters, unmoved by my aesthetic pleading, remain loyal to Home Alone. Thus, another December passes in cinematic deprivation, endured with outward good cheer and inward martyrdom. The sharpest ache, though, comes from my unshakeable belief that if they would only sit through Gilbert Grape, they would see it—the tenderness, the ache, the strange, gentle magic—and immediately defect. I can already picture it: a household converted, a tradition reborn. Until then, I wait, patient and delusional, nursing my dream like a bruised holiday ornament.
Cinemorphosis 
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