The Best Movies of the 2020s So Far

“They called me uppity. Uppity n*****. And I loved it”. That’s how this excellent documentary, about the first professional black racing driver Willy T. Ribbs, starts. It summarizes the strong personality of a champion who excelled in tracks that were filled with confederate flags.

The documentary explains the details of the difficulties that Ribbs went through in the 70s and 80s, but also the people who supported him and recognized his talent. It’s by no way a sad movie, on the contrary, even when Ribbs is talking about people spitting wherever he walks or about the death threats escalating, his unharmed determination is at the center of the story.

This is an inspiring documentary about a character who never got his worth in the history books. I was full of shivers by the first half-hour mark.

This fun comedy-drama is about a New York playwright called Radha who never hit big. When she turns 40, she decides to reinvent herself as RadhaMUSPrime, a rapper.

And it’s all a personal affair: Radha Blank plays the main character (named after herself) and is also the writer, director, and producer.

The story is about rap and theater, but being so connected to reality, it feels like it’s about Blank making the movie itself. Its very existence feels like a triumph against the pressure of age, the misunderstanding of others, and the weight of unreached goals.

This Oscar-nominated drama tells the story of the events leading up to the Srebrenica massacre, in which 8372 Bosnian Muslims were killed. It focuses on one U.N. worker who was caught between trying to protect her family, herself, and helping people in need.

The film is as horrific as it is relevant: up until the actual killing starts, people are constantly being assured that everything is under control and that there is no reason to panic. This gives an eerie feeling of resemblance to the tone many minorities in distress receive nowadays.

Still, Quo Vadis, Aida? stops at depicting any of the acts that were committed that day. Instead, it focuses on Aida’s unrelenting race against the clock to save whatever she can.

This insightful and uplifting documentary is about a growing movement within indigenous communities: obtaining food sovereignty by going back to pre-genocide ways of cultivating food.

The violent changes that have affected indigenous communities don’t impact just the people, but also the animals, the fish, and the land. All of these are now bearing the brunt of climate change.

Historically, North American governments forbid Native people from fishing and cultivating their foods as a way to repress them and create dependency. Gather is as much a recognition of the damage that was done as it is a forward-looking vision about how these communities are taking control of their faiths.

The Fabelmans is often described as director Steven Spielberg’s semi-autobiographical movie about his inauguration into filmmaking, and while it certainly is that, I’d venture to say that it also functions as a universal coming-of-age tale, with protagonist and Spielberg stand-in Sammy Fabelman (Gabriel LaBelle) learning harsh truths about identity, family, and passion for the first time.

Here, we see how so much of filmmaking is intertwined with his life, and how the movies inspire his personality (and vice versa). Whether you’re a fan of Spielberg or not, this movie will surely win you over with its beautiful imagery, impressive technique, and big, big heart.

Mars One is a tender, wholesome drama that centers on The Martins, a family of four living on the fringes of a major Brazilian city. Their lower-middle-class status puts them in an odd position—they’re settled enough to have big dreams and occasionally lead lavish lives (the mother and the daughter like to party) but they barely have the means to pursue that kind of lifestyle. As a result, they’re always searching and wanting, aiming high but almost always falling flat on the ground.

There is no actual plot in Mars One. Instead, it studies its characters in a leisurely and almost offhand manner. The approach is so naturalistic, you’ll almost forget you’re watching a movie. But it’s still gorgeously shot and staged, Brazil being an inevitably striking background. At once gentle and vibrant, this big-hearted film is a must for those who are suckers for well-made family dramas.

Kill Bill meets Bend It Like Beckham in this wild ride about a martial arts-obsessed British-Pakistani teenager who views her older sister’s impending marriage as a catastrophe to be averted at all costs. Aspiring stuntwoman Ria (Priya Kansara) can’t stomach the idea of free-spirited Lena (Ritu Arya) giving up on her creative dreams to marry a nauseatingly perfect man — not least because art school dropout Lena is her hero for refusing to conform to their community’s traditional ideas about respectability and success.

Polite Society makes room to sensitively explore Ria’s disappointment and the loneliness of rebellion, but writer-director Nida Manzoor doesn’t stop there, throwing in a sharp allegory disguised as a zany twist. Rather than upending our expectations for upending’s sake, the surprise metaphor refigures the movie as perceptive cultural commentary on the age-old devaluation of women as mere vessels for the next generation. What’s more, Manzoor takes the analogy full circle to thoughtfully imagine how this kind of dehumanizing misogyny might have affected previous generations, suggesting that the real villains lie offscreen. Movies as inventive and intelligent as this don’t come around often, but one that’s this funny, visually bold, unabashedly feminist, and full of stars-in-the-making is rarer still.

“Many’s the person missed the opportunity to say nothing and lost much because of it.”

The Quiet Girl takes the troubled, reserved nature of Cáit (Catherine Clinch) as she’s swallowed by the discord in her evergrowing family, who treats her as an outcast, and fills the film with her serene, observatory perspective. Long sequences with little to no dialogue and an expansive countryside give way to the emotional thrum of this found-family drama. The simplicity in every frame befits a child’s innocence, and every visual and sonic decision reinforces that wonderfully. Loving and nurturing a child is a straightforward concept, and The Quiet Girl never complicates it. Without saying much, it says it all.

We’ve heard of films within a film, but it’s crazy how many layers Through the Olive Trees operates in. Writer-director Abbas Kiarostami completes his metanarrative journey in the Koker trilogy through a slice-of-life comedy about a couple in the periphery of the previous installment And Life Goes On. As the young man Hossein repeats his plea for marriage to Tahereh, casted as his wife, the insistence can be slightly grating, but in doing so, the everyday dealings of the Iranian village hint at what’s underneath– the earthquake from four years ago that still shapes their lives, the socioeconomic and culture barriers, and the mirrored struggle of creating the artistic vision of the film within the film.

Not everybody holds a good relationship with their sisters, but ideally, we get to reunite and repair things in a good time. Unfortunately, for some families, the only time they reunite is due to a parent nearly dying. This is the case in His Three Daughters, where the three sisters meet after years living apart. It’s a common plotline, mostly depicted in the feel-good, family friendly variation, but writer-director Azazel Jacobs makes the three sisters distinct by taking the easy assumptions many people would make about them, and naturally push them to reveal the opposite. Carrie Coon, Natasha Lyonne, and Elizabeth Olsen form a great trio, delivering equally excellent performances under the same roof.