The Best Films of the 2020s Decade (so far)
The greatest films of the 2020s so far, from the growth of auteur television to boundary-pushing metamodernism.
Monkey Man (2024)
It is a rare thing to witness a first-time director meld such handsomely stylised action with mystical symbolism, yet Monkey Man proves Dev Patel to be just as skilled behind the camera as he is in front of it, crafting a Hindu allegory that envisions one underground fighter’s righteous delivery of divine justice upon India’s corrupt political landscape.
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Love Lies Bleeding (2024)
As a string of bodies stacks up in the sordid rustic town of Love Lies Bleeding, Rose Glass sinks us into a twisted rural noir of drug abuse, bodybuilding, and gun smuggling, following the uncontrollable careening of queer lovers Lou and Jackie into a seedy underworld of treachery and murder.
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Perfect Days (2023)
Wim Wenders’s smooth weaving of one toilet cleaner’s daily routine into the narrative structure of Perfect Days is not only a testament to his own formal attentiveness, but also warmly invites audiences into a collective meditation, finding contentment within the unassuming patterns and details of a modest, dutiful life.
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Nimona (2023)
By subverting the archaic legends that pass down prejudices from one generation to the next, Nimona recognises the freedom that lies in open-minded acceptance, uniting a fugitive knight and a chaotic shapeshifter against a conspiracy that threatens to destabilise their futuristic, medieval kingdom.
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Evil Dead Rise (2023)
Lee Cronin brings a refreshing creativity to Sam Raimi’s demonic horror in Evil Dead Rise, as he allegorically twists the image of a loving family into that of dysfunctional household, and lays into the terror of seeing one’s mother transform into a hideous, abusive creature.
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American Fiction (2023)
It is a cruel twist of irony that sees writer Monk Ellison’s parody of exploitative Black novels exalted as a serious piece of literature in American Fiction, and one which Cord Jefferson wields impressive self-awareness over, sharply satirising the liberal elite’s attempts to assuage their white guilt by gleefully consuming African American trauma in media.
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Scene by Green 