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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.
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Dune: Part Two (2024)
Denis Villeneuve’s extraordinary adaptation of Frank Herbert’s unfathomably vast imagination incidentally demonstrates his own in Dune: Part Two, further developing his elemental worldbuilding and biblical iconography through the darkly subverted monomyth of a prophesied Messiah, and pushing the parable’s cinematic spectacle to astonishingly creative lengths.
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Fallen Leaves (2023)
The working-class lovers of Fallen Leaves may be set back by personal flaws, but the string of unlucky coincidences playing a greater cosmic joke on them can’t be ignored either, as Aki Kaurismäki’s minimalist comedy-drama stubbornly seeks romance within the deadpan mundanity of downtown Helsinki.
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Teenage Mutant Ninja Turtles: Mutant Mayhem (2023)
It is in the anarchic rejuvenation of animation itself that Teenage Mutant Ninja Turtles: Mutant Mayhem fully embraces the rebellious spirit of its outcast heroes, emulating the sort of colourful scrawls and grungy imperfections that might be found in a teenager’s sketchbook, and vividly manifesting the coming-of-age tale which underlies its kinetic superhero action.
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Reptile (2023)
As Grant Singer methodically unravels the brutal murder of a real estate agent into a conspiracy that sprawls across the Maine property market, suspects and detectives alike chillingly shed their skins to reveal their true natures, giving metaphoric significance to the cold-blooded title Reptile.
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May December (2023)
Within May December’s dual character study, Todd Haynes draws disturbing psychological parallels between one method actress and the paedophile she is researching, carefully observing both predators win the unearned sympathy of audiences and neighbours alike through performances of astoundingly shallow substance.
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The Zone of Interest (2023)
It takes a special sort of inhuman cruelty to live in such close proximity to largescale genocide, profit off its spoils, and continue each day with no remorse, so the vast wall that divides Auschwitz from the camp commandant’s country house makes for a chilling visual metaphor of this in The Zone of Interest, as…