The 25 Best Directors of the Last Decade
The best directors of the last ten years, from blockbuster visionaries to arthouse experimentalists.
Die Nibelungen (1924)
Fritz Lang’s majestic fable of ambition, betrayal, and vengeance stands as a monumental achievement of silent filmmaking in Die Nibelungen, lifting mythical kings and battles out of Germanic legend, and giving them operatic, larger-than-life form on the cinema screen.
The 10 Best Film Composers of the Last Decade
The best film composers of the last ten years, from orchestral virtuosos to electronic innovators.
I Was Born, But… (1932)
Within the messy entanglement of power and status, Yasujirō Ozu’s formal mirroring of fathers and sons in I Was Born, But… reveals the conflict at the root of our common insecurities, as well as the sweet, liberating affirmation we never stop pursuing from infancy through adulthood.
The 10 Best Cinematographers of the Last Decade
The best cinematographers of the last ten years, from IMAX pioneers to monochrome nostalgists.
Tokyo Chorus (1931)
The subdued melodrama of Tokyo Chorus stands as a delicate testament to those teachers who not only educate us, but sagely guide us through our lowest moments, as Yasujirō Ozu cultivates his craftsmanship through the tender-hearted tale of an unemployed family man.
The 10 Best Film Editors of the Last Decade
The best film editors of the last ten years, from masters of formal structure to offbeat action lovers.
Destiny (1921)
In Destiny’s eternal struggle between love and death, a young woman bargains to win her fiancé back from the afterlife itself, navigating a series of tragically romantic tales through Fritz Lang’s extraordinary Gothic anthology.
The 10 Best Screenwriters of the Last Decade
The best screenwriters of the last ten years, from adapters of unconventional tales to sharp-tongued wordsmiths.
Mission: Impossible – The Final Reckoning (2025)
What Mission: Impossible – The Final Reckoning lacks in deftness it makes up for in raw impact, unleashing a heart-pounding conclusion to the nuclear threat posed by a rogue AI parasite, and standing as an overstuffed, operatic monument to what practical filmmaking can still achieve when pushed to its edge.