Movies from the last DECADE that should become CLASSICS

The last decade in world cinema has introduced us to numerous promising young actors and dozens of films that have completely revolutionized how we perceive contemporary filmmaking. It’s impossible to fit all the extraordinary productions that have captivated connoisseurs worldwide—from the biggest and most expensive blockbusters to contemplative indie productions—into a single ranking. However, I will attempt to convince you of a few titles that exemplify a remarkable diversity of genres, which, over time, might earn them the status of true classics. Today’s list features eight movies from 2014–2024 that have a strong chance of becoming contemporary cinema classics that we’ll revisit time and time again.

“Babylon” (2022), dir. Damien Chazelle

After watching Babylon, audiences tend to fall into two distinct camps: those who fall head over heels for Damien Chazelle’s film and those who utterly despise it. I firmly belong to the first group, which considers Babylon a masterpiece from beginning to end—from the unforgettable 8-minute opening scene brimming with wild, untamed energy and decadent extravagance to the snake duel and the phenomenal sequence featuring Tobey Maguire. Chazelle steps far beyond the confines of his earlier, more subdued productions, never letting up the pace. In Babylon, everything is grandiose and epic, serving as a touching tribute to the films of the 1920s and to all whose careers were cut short by the transition to sound cinema. Margot Robbie is mesmerizing, as are her co-stars Diego Calva and Brad Pitt, while Justin Hurwitz’s soundtrack reaches every imaginable musical height. Robbie herself mentioned that in 20 years, Babylon might be regarded in the same light as The Shawshank Redemption, which—hard to believe now—was not particularly well-received by critics initially. Here’s hoping Babylon similarly matures into a true modern classic.

“Midsommar” (2019), dir. Ari Aster

Hypnotic, psychedelic, bizarre, and mesmerizing all at once, Ari Aster’s Midsommar, made for A24, takes us on a disquieting journey to an isolated Swedish village where inhabitants celebrate a mysterious, macabre ritual once every few decades. This horror film marked Florence Pugh’s breakout role and is sure to be remembered as a landmark in the genre’s history. Aster terrifies and shocks without unnecessary gore, transforming an initially idyllic, picturesque, and seemingly carefree village into a true nightmare minute by minute. In Midsommar, Dani’s escape from reality, grief, and an unhappy relationship becomes a harrowing survival lesson: the beauty of nature, colorful costumes, and the innocent smiles of apathetic villagers mask darkness and an intense, primal hunger. Midsommar is arguably the most innovative and unconventional horror film of the 21st century, and I can’t imagine it losing this standing anytime soon.

“1917” (2019), dir. Sam Mendes

The realities of World War I are portrayed in a naturalistic, groundbreaking, near one-shot format that adheres to the classical unities of time, place, and action. With breathtaking cinematography by Roger Deakins, an epic soundtrack by Thomas Newman, and a meticulously crafted, complete narrative told in a mythic tone, 1917 is a one-of-a-kind depiction of a lone soldier navigating the wreckage of war. Even though Sam Mendes lost out to Bong Joon-ho at the 2020 Oscars, he created a unique contemporary portrait of a soldier left to face the horrors of trench warfare, accompanied only by the ominous ticking of a clock. 1917 excels not only in its poignant reflection on the devastation of war and its dramatic performances by George MacKay and Dean-Charles Chapman but also as a spectacular showcase of lighting and masterful set design. This visual and storytelling masterpiece is sure to leave a lasting impression.

“The Holdovers” (2023), dir. Alexander Payne

A standout discovery from last year’s Oscars, this film, inspired by the spirit of 1960s and 70s cinema, features outstanding performances by Paul Giamatti, Da’Vine Joy Randolph (who won an Oscar for her supporting role), and the debut of rising star Dominic Sessa. Payne’s The Holdovers is often mistaken for a typical holiday feel-good movie. While the story is set during the Christmas season, it is far more profound and moving than conventional holiday comedies. Themes of loneliness, rejection, and grief are woven together with a dose of sharp humor, and the unique bond between the lost Angus and his eccentric professor restores faith in the magic of independent, auteur-driven cinema. I truly believe that The Holdovers will age like fine wine, and years from now, we’ll remember it as the iconic debut that launched Sessa’s long and illustrious career.

“Nightcrawler” (2014), dir. Dan Gilroy

Nightcrawler is undoubtedly Jake Gyllenhaal’s career-defining performance. This disturbing and provocative film, through the character of Lou Bloom—a petty thief who finds his calling in documenting human tragedies under the mantra “the more blood, the better”—provides a meticulous critique of contemporary American society and its relentless pursuit of sensationalism. Bloom’s evolution is truly impressive: from an average man scraping by with odd jobs to a manipulative, psychotic individualist who builds a career on others’ misfortunes. Nightcrawler paints a dark and pessimistic vision of a world unrestrained, driven by the basest instincts. Gyllenhaal immerses himself entirely in the madness of his character, delivering a chilling, unforgettable performance that leaves viewers in a state of constant shock and unease.

“Blue Jay” (2016), dir. Alex Lehmann

If you’re looking for a minimalist, auteur-driven, emotional, and refreshingly original film, Blue Jay by Alex Lehmann is sure to meet your expectations. Set in a nostalgic noir atmosphere, the story revolves around what seems to be an ordinary day in the life of Jim—a shy man who, despite his age, still struggles to find his place in the world. During a mundane errand—a quick trip to the supermarket—Jim unexpectedly runs into Amanda, his high school sweetheart with whom he once envisioned a beautiful future. Shocked by this chance encounter, the former lovers abandon their plans and obligations to relive, for a fleeting few hours, their youthful, reckless, and deeply romantic selves. Sarah Paulson and Mark Duplass, working with only an outline of a script (most of the dialogue is the result of their brilliant improvisation), deliver a spectrum of emotions, tapping into a profound sense of longing and making us smile so much it hurts. The chemistry they share in building their beautiful connection has a unique way of resonating directly with the viewer’s heart. Blue Jay is a charming, unpretentious, bittersweet film whose emotional authenticity is deeply affecting.

“Cold War” (2018), dir. Paweł Pawlikowski

This ranking wouldn’t be complete without a Polish entry, and Paweł Pawlikowski’s Cold War is not just a national treasure but a film that has captivated audiences worldwide, earning its place as one of the most beautiful love stories in recent independent cinema. Inspired by the tumultuous relationship of the director’s parents, the story offers a bitter return to the cold, bleak, and opportunity-deprived Poland of Stalinist times, where the protagonists unexpectedly find their destiny in each other. The captivating Zula, played by Joanna Kulig, and the equally remarkable neurotic Wiktor, portrayed by Tomasz Kot, drew the attention of the entire world. Kulig’s role in Cold War opened doors to international projects such as The Eddy and The Kindness of Strangers. While Pawlikowski’s Oscar-winning Ida paved his way to Hollywood, it is likely that Cold War, with its deeply personal narrative and love for jazz music, will hold a more sentimental place in our hearts over time. With some luck, Joanna Kulig’s portrayal of Zula might mark the beginning of a thriving international career.

“Mudbound” (2017), dir. Dee Rees

The McAllan and Jackson families share the same farm and long for freedom from the shadow of Nazi propaganda. Yet, when it comes to racial segregation, the southern United States remains mired in intergenerational racism and exclusion, despite the progress in societal awareness elsewhere. Based on Hillary Jordan’s novel, Mudbound tells what seems to be a straightforward story of two brothers competing for the love of the resilient Laura (flawlessly portrayed by Carey Mulligan) and the hardships of life on a farm. However, it also conveys a profoundly universal message about America’s ongoing racial intolerance, which is even more pronounced in Mississippi than in postwar Germany. Dee Rees’ film is a complete work, devoid of falseness or embellishment. While the director occasionally treads the fine line of moralizing, the educational intent and even the somewhat overstated final act feel like deliberate, purposeful choices. This story is designed to make us uncomfortable, reflective, and painfully aware of the wrongs that should never have occurred. Mudbound is an extraordinary film, though still underappreciated today.