The 21st Century's Most Acclaimed Films list serves as a companion to the They Shoot Pictures, Don't They? 1,000 Greatest Films of all time list which, - by its nature - tends to have very few films from the 21st century in it. The 21st Century's Most Acclaimed Films list attempts to highlight and honour this century's most critically revered films and act as a sort of 'resting bay' for many great films that are likely to be included in the 1,000 Greatest Films list sooner or later.
This list will be frequently updated as movies move in-and-out of contention.
Final update for the year! Removed all moves not nominated for Academy Award, Golden Globe, SAG, or Independent Spirit Awards. Add missing Academy Award nominated films. Good luck watching them all. See you next year!
A Night at the Garden
Ant-Man and the Wasp
Avengers: Infinity War
Mission: Impossible – Fallout
One Small Step
Period. End of Sentence.
Ready Player One
Solo: A Star Wars Story
Bad Times at the El Royale
Ben is Back
Crime + Punishment
Don’t Worry, He Won’t Get Far on Foot
Duck Duck Goose
Hearts Beat Loud
Hotel Transylvania 3: Summer Vacation
Lu Over the Wall
Maquia: When the Promised Flower Blooms
On the Basis of Sex
Teen Titans Go! To the Movies
The Front Runner
The Hate U Give
The Miseducation of Cameron Post
The Other Side of the Wind
The Sisters Brothers
Three Identical Strangers
Welcome to Marwen
What They Had
White Boy Rick
official selection + directors' fortnight + semaine de la critique
01–21 / competition
22–39 / un certain regard
40–46 / out of competition
47–54 / special screenings
55 / closing film
56–74 / directors' fortnight
75–81 / semaine de la critique: competition
82 / semaine de la critique: opening film
83–84 / semaine de la critique: special screenings
85 / semaine de la critique: closing film
86–103 / cinéfondation
104–111 / short films
From Cageian phantasmagoria & 18th-century mischief to a world-weary Western and a stolen Singaporean road movie
Once upon a time, Derek Smith wrote: “2017 was a year endured rather than lived.” But all due respect to the past, because here we are creeping into this new 2019 and things are so much better than we thought they’d be!
True, the year probably felt like 37 years or whatever removed from Rick Deckard’s squared-off tie and malfunctioning memory. And truth be told, the political crisis unfolding in the gray hallways might seem more honest if it resembled the light-starved, gnarled noir of Blade Runner. At least Schwarzenegger and The Running Man promised that 2019’s only choice would be “hard time or prime time,” even if its presentation of a neon capital, corporate-owned world seemed, you know, subtle. And for all the (dead) kids in cages and bodies bleeding out on street corners here and abroad, Michael Bay and The Island had a perfectly-drooped Buscemi diagnosing our humanist crisis: “I mean, you’re not human. I mean, you’re human, but you’re not real. You’re not a real person, like me.”
A lot of people were told they weren’t humans in 2018. This isn’t a writerly evasion or poetic epithet designed to elicit righteous ire/compel you to read another year-end list. Because what else could you call the concentrated attempt by some humans to discourage the freedoms of other humans? Our narrative didn’t turn science-fiction to let us off the hook: these non-humans weren’t clones or replicants or estranged Atlantean denizens returning to claim their kingly right. They just weren’t human enough (or the right kind of human) to matter in the eyes of louder, more powerful humans. All of our past’s proposed images of our worst futures pale in comparison to this denial of basic humanity that we see out our windows.
It is unsurprising, then, that cinema, our most volatile cultural mirror, began to show the stretch and strain in its images of our species. But what is surprising is that cinema in 2018 retained nuance and compassion as it mediated the cruelties and depravities of its age. Unlike this slab of prose, movies in 2018 moved beyond mediating good and evil in simple, monolithic terms. They attempted to sketch the boundaries of real freedom in an unjust world (BlaKkKlansman). They investigated, more acutely than ever before, the responsibilities of what it meant to keep (Shirkers) and tell (Madeline’s Madeline) another human’s story (If Beale Street Could Talk), especially in remembrance (Roma). They presented distorted genealogies (Hereditary) and fisheye-lens histories (The Favourite) to track the human body’s motion (Suspiria) in and out of comradeship (Support the Girls) and trauma (Burning). In 2018, we hurled our betrayed humanities up against foreign corpses (Zama), scorched country (The Ballad of Buster Scruggs), alien twins (Annihilation), and incongruent voices (Sorry to Bother You). We began to see, in everything, something like a way through the darkness. Why else keep watching the past (The Other Side of the Wind) if not to plot something we’d never imagined before (The Night Is Short, Walk On Girl)?
Our moving images in 2018 proposed that real love (Eighth Grade) and genuine care (Lazzaro Felice) could stretch impossibly across time to add up to a life steeped in both nuance and compassion (Won’t You Be My Neighbor?). Our love would not look the same (Leave No Trace) nor could it resound in strictly-feasible tones (Mandy), but we would recognize its absence; we could see that sometimes humanness looks like something we’ve never seen before (Spider-Man: Into the Spider-Verse).
More than anything, as one derelict theory proposed, “Through the negative you could see the real, inner, demonic quality of the light.” In laying the responsibilities of the filmmaker and artist at the feet of a murderer, The House That Jack Built came perilously close to endorsing our worst demons. Those demons shook and raged and hissed at us, urging us to give in to despair and make a world in their image. How did we let it stand? Thomas Merton was a central figure in a figurative, feral lens for our year, and he wrote that “despair is the absolute extreme of self-love.” To levy our humanity so close to inhumanness, suggesting that our better angels are distortions, is dangerous. To know, as these 25 films know, that there can be nothing without despair until there is love is to actually be human. To look, as we did, through our ruinous year and resist the despairs of all our oppressors and lowest urges, to shout, in image and montage and light and shadow, that this is how I deny you is to attain, beyond our humanity and into the future, a new kind of prayer. –FRANK FALISI
2019 Film Independent Spirit Awards nominees and winners:
- Best Feature: 01, 02, 03, 04, 05. | 05 - If Beale Street Could Talk.
- Best First Feature: 06, 07, 08, 09, 10. | 09 - Sorry to Bother You.
- Best Director: 01, 02, 04, 05, 11. | 05 - If Beale Street Could Talk (Barry Jenkins).
- Best Male Lead: 01, 04, 12, 13, 14. | 04 - First Reformed (Ethan Hawke).
- Best Female Lead: 03, 06, 07, 15, 16, 17. | 15 - The Wife (Glenn Close).
- Best Supporting Male: 03, 10, 18, 19, 20. | 20 - Can You Ever Forgive Me? (Richard E. Grant).
- Best Supporting Female: 02, 05, 11, 21, 22. | 05 - If Beale Street Could Talk (Regina King).
- Best Screenplay: 04, 09, 11, 20, 23. | 20 - Can You Ever Forgive Me? (Jeff Whitty, Nicole Holofcener).
- Best First Screenplay: 03, 08, 21, 24, 25. | 03 - Eighth Grade (Bo Burnham).
- Best Cinematography: 06, 10, 16, 26, 27. | 26 - Suspiria (Sayombhu Mukdeeprom).
- Best Editing: 01, 08, 10, 28, 29. | 01 - You Were Never Really Here (Joe Bini).
- Best International Film: 30, 31, 32, 33, 34. | 30 - Roma.
- Best Documentary: 35, 36, 37, 38, 39, 40. | 35 - Won't You Be My Neighbor?.
- Robert Altman Award (ensemble cast, dir. and casting dir.): 26. | 26 - Suspiria.
- John Cassavetes Award (Best Feature Under $500,000): 14, 22, 41, 42, 43. | 42 - En el séptimo día.
- Truer Than Fiction Award: 36, 39, 40. | 36 - Minding the Gap.
- Someone to Watch Award: 10, 14, 44. | 14 - Alexandre Moratto (Socrates).
"The best movies from a decade that changed everything."
I know I listed 101 films. In the original list we can find to see two film in the same place:
“The Act of Killing”/”The Look of Silence” (Joshua Oppenheimer, 2013/2015)
You can see I separeted them.
By David Ehrlich, Eric Kohn, Kate Erbland, Anne Thompson, Zack Sharf, Chris O'Falt, Jude Dry, Tambay Obenson, Christian Blauvelt, Leah Lu, Christian Zilko
Jul 22, 2019 9:00 am