We’re only halfway through the 2020s, but there have already been a slew of genuine movie masterpieces. Many of them were rightfully recognized by critics and audiences, and a few even managed to make it to the Oscars — think of movies like Barbie, The Power of the Dog, or Nosferatu, which were instantly recognized as triumphs of the medium. These movies already enjoy a great reputation, and chances are that they will only improve with the years.
Indeed, several movies of the 2020s are already shaping up to be future classics of the medium, and their standing can only go up. Whether because of their technical achievements, timeless narratives, bold storytelling, or a combination of factors, the movies on this list can only get better with the years. Their messages will still resonate with future audiences, perhaps becoming even more powerful than they already are today, and their reputations as true innovators of cinema will only be further enhanced with the benefit of hindsight.
‘Nomadland’ (2020)
Chloé Zhao‘s Nomadland won the Best Picture Oscar in 2021. At the time, the win seemed inevitable, especially since the year lacked any real, strong contenders to its supremacy. However, almost six years later, Nomadland has aged quite well, becoming one of the strongest Best Picture winners of the new millennium. Frances McDormand stars as Fern, a woman who adopts a nomadic lifestyle, living in her van and traveling around the country, finding community with other nomads.
Quiet and restrained, Zhao’s Nomadland is remarkable, both a contemplative ode to life and a loving, empathetic look at the lives of those often discarded by society. The film is subtle to a fault, with long stretches of silence that aim to capture the vast beauty of the US’ rural zones. However, its true power lies in its sympathy for the nomads at the center of the narrative; it neither condemns nor glorifies the lifestyle, simply presenting it as a choice no less valid than any other. Nomadland is often misunderstood and mischaracterized as pretentious or “artsy,” but “human” is a far better descriptor. It aims to capture the beauty in simplicity and how even the most unexpected, humble paths can lead to self-discovery and fulfillment.
‘Poor Things’ (2023)
Few modern cinematic partnerships have been more interesting or triumphant than that of Yorgos Lanthimos and Emma Stone. The duo first collaborated in 2018’s The Favourite before reteaming five years later for the delightfully offbeat Poor Things, an adaptation of the eponymous novel by Alasdair Gray. A bold, feminist take on Frankenstein, the film follows Bella Baxter (Stone), a Victorian woman reanimated with the brain of a child, who embarks on a journey of sexual liberation and self-discovery.
Poor Things greatly benefits from Lanthimos’ trademark absurdist, unrestrained approach that blends humor, subversive, oft-discomforting visuals, and genuine pathos. It then rises on the strength of Stone’s courageous, career-best, Oscar-winning performance as one of cinema’s most singular, endearing, and admirable characters. Visually, Poor Things is stunning to witness, with a colorful flair that blends classic Victorian aesthetics with steampunk elements. Thematically, the film is all about liberation through self-actualization and growth; just because someone was born into a situation doesn’t mean they must conform. In many ways, Poor Things is both beautiful and grotesque, but therein lies its charm. It never settles for being one thing, which has only made it more appealing.
‘Oppenheimer’ (2023)
Widely considered Christopher Nolan‘s magnum opus, Oppenheimer might just be the best movie of the 2020s so far. Cillian Murphy stars as J. Robert Oppenheimer, with the film chronicling his career and his role overseeing the Manhattan Project during World War II. The narrative also dramatizes the subsequent investigation into his alleged communist ties, depicting it as a fight between Oppenheimer and United States Atomic Energy Commission member Lewis Strauss.
From the get-go, Oppenheimer felt like Nolan’s masterpiece. The film’s scope is gargantuan, presenting the heaviness of Oppenheimer’s achievements, both for his professional career and for the world at large. Yet, it also depicts his complicated feelings on the matter, how the pressure and regret weighed in on him as he reconciled playing such an instrumental role in what he considered the beginning of the world’s deterioration. Murphy is outstanding in the role, opting for a stern, haunted portrayal that interiorizes Oppenheimer’s struggle. As for Nolan, his genius lies in his skill at making such a human story feel so riveting; Oppenheimer is a biopic by way of a thriller, showcasing Nolan’s strengths as a storyteller in service of a faithful and revealing character study of one of modern history’s most divisive yet fascinating figures.
‘The Boy and the Heron’ (2023)
Undoubtedly, 2023 was the best year for cinema in the 2020s. This list alone already has three entries from 2023, and we’re not even mentioning Godzilla Minus One, Anatomy of a Fall, Killers of the Flower Moon, The Zone of Interest, or Past Lives. Yet, we must mention what may very well be Hayao Miyazaki‘s most personal triumph, The Boy and the Heron. Written by Miyazaki, the film centers on a young boy grieving his mother’s death, who follows a mysterious, talking grey heron into a fantasy realm.
In many ways, The Boy and the Heron might just be Miyazaki’s most intimate movie, a look into the complexities of his creative mind and process. Narratively, the film can be unyielding, following a seemingly straightforward plot yet imbuing it with a taciturn approach that emphasizes emotion over action. Thematically, The Boy and the Heron can have countless interpretations; it can be viewed as a metaphor for grief, a deconstruction of the traditional hero’s journey, and a look into the role of the individual in an increasingly violent world. However, I think it’s best viewed as a thought-provoking and unexpectedly bleak look at the daunting task of creation, whether it’s art or something more tangible, and how a creation can both overtake one’s life and even come to define it. The Boy and the Heron eschews Ghibli’s usual hopeful sentimentality for a more soulful and melancholy approach, but that’s what makes it all the more powerful.
‘Dune: Part Two’ (2024)
With 2021’s Dune, Denis Villeneuve proved that Frank Herbert‘s seemingly unadaptable novel could indeed be translated to the silver screen. With the 2024 sequel, Dune: Part Two, Villeneuve cemented himself as the defining sci-fi director of the last decade. The film continues the story of Paul Atreides (Timothée Chalamet), as he attempts to avenge his father’s death and rid the desert planet of Arrakis of the tyrannical rule of the Harkonnen clan.
While Dune set the stage for a riveting sci-fi epic, Dune: Part Two delivered on the promise with a grander, more potent tragedy that was every bit as exhilarating as it was affecting. Villeneuve masters his action sequences, imbuing them with a dramatic flair that makes them both exciting and meaningful. The novel’s themes of sacrifice, misplaced faith, and the dangers of messianic prophecies are well served, with the director showcasing the futile, thankless nature inherent to Paul’s story. Couple that with several impressive sequences, including the climactic battle between Paul and Feyd Rautha (Austin Butler), and Dune: Part Two becomes the best sci-fi epic of the last decade. The third and final entry, Dune: Part Three, is scheduled to premiere in December 2026.