35 Best Films From Directors Over 60

After the 1975 release of the Maysles brothers’ Grey Gardens, Big and Little Edie Beale’s story captivated viewers and spawned a musical and a dramatized biopic about the reclusive, impoverished socialite mother-daughter duo. The Beales of Grey Gardens is a compilation of the remaining unreleased archival footage, released after the death of both subjects and David Maysles. For those unfamiliar with their story, the film might feel a bit random and contextless. But for Beale fans, and those familiar with their first documentary, this sticks close to the classic cinema vérité style of the Maysles, while also uncovering other sides of these interesting, eccentric former socialites, becoming a lovely tribute for them and their fans.

Remember Bing Bong from Inside Out? This time, there’s a whole world of imaginary friends that don’t fade into the recesses of a child’s mind– instead, they transfer to another place, ready to take on the imaginations of children around the world. That’s the basic premise of The Imaginary. Of course, Studio Ponoc’s third film has been at least partially inspired by Studio Ghibli, with some of its staff having their start there, and with the film’s dreamlike portals and strange cats, but the film takes a more straightforward approach to its story and analogies. As Rudger fights against Mr. Bunting, the film examines, well, imagination, but in all its forms– fodder for corporations to feed on, propaganda to calm the masses, but also as the innately human response to grief, as a mature solution to life’s troubles. The Imaginary may not be a stand-out, but we can’t help but applaud Studio Ponoc’s sincerity in celebrating human creativity.

As an adaptation of the one-character play, it’s a delight to see Pauline Collins as Shirley Valentine rip into the signature monologue through fourth wall breaks– ranting, bantering, and raving to us about the unique follies of mundane domesticity. Collin maintains the same comedic timing and wittiness of the titular character that has captivated Liverpool, and then London, at the time. However, while critics found it easy to dismiss the script as a series of superficial, stagy ramblings, Valentine genuinely searches for life purpose, for herself, for her soul, confronting her younger aspirations, the box she was essentially crammed into due to marriage expectations, and the life that she sacrificed for family’s sake. Shirley Valentine may not have gotten the acclaim succeeding female mid-life crisis films have gotten, but it’s an underrated classic comedy that many can enjoy.

For the longest time, family was everything. Traditions were maintained, opportunities were made and created for it, and the community helped each other, especially for immigrant families, who only had each other. Avalon holds plenty of the nostalgia of early 1900s America, but it’s mostly bittersweet with the way the American Dream slowly eroded the extended immigrant family, with the ever-changing times shifting each nuclear unit’s priorities, circumstances, and connection to the clan. Like seafarers seeking the titular utopic island, Avalon ponders on the way the family worked to reach for an abundance that they didn’t get to share as a whole.

Alternatively known as The Chinese Connection due to a translation error, Fist of Fury was the second of Bruce Lee’s leading roles in Hong Kong, this time taking his fists to 1900s Shanghai. As Chen Zhen, fictional apprentice of the real life Jingwu School, Lee fights against the rival Japanese dojo after the death of his master, asserting the honor of his Chinese kung fu school in the face of the foreign occupation. It’s this foundation that sets the stage for Bruce Lee’s fight choreography, delivering spectacular action sequences that are impossible to duplicate in the service of vengeance and justice. It was through this film, and his other Hong Kong features, that Bruce Lee bridged east and west, setting the new standard for martial arts cinema all over the world.

Never has evil been so darn fun to watch. Bridget (Linda Fiorentino) is such a captivating villainess, you’ll actually find yourself rooting for her at times in this noirish take on…, I don’t know what, but it involves drug money, double-crosses, lots of witty repartee and cat-and-mouse manipulation that will make your stomach hurt. The script is tight, the acting is all testosterone driven and crisp and you’ll hear some choice words come from nice guy Bill Pullman (as Bridget’s husband Clay) that you never imagined he could say. Peter Berg (Mike) is fantastic as the guy’s guy determined to earn his Alpha-dog badge by subduing the fierce and wickedly intelligent heroine, Bridget. Fiorentino won a BAFTA award for her performance and was nominated, along with Director John Dahl, for several others. The movie did not qualify under Academy rules for the Oscars, but it would have been a strong contender.

Nostalgia for the Light is a documentary about Atacama desert and the two activities that go on there: astronomers in ALMA space observatory examine the sky, and the relatives of murdered people dig the ground hoping to find their loved ones. The way the director compares these seemingly totally different topics (searching the sky and searching the sand) is pure poetry. It’s a serious, but not depressing nor boring movie. All the interviewed people are amazingly relevant and have great insight. They made me feel like I want to get to know them personally. If you’re looking for a detailed “for dummies” introduction about Chile, ALMA observatory or Pinochet’s concentration camps, this movie is not for you. It’s for viewers who want to learn to appreciate the beauty of life and history, and the surprising parallels they sometimes offer us.

Arch-provocateur Paul Verhoeven received widespread acclaim for his assured and darkly funny adaptation of Philippe Dijan’s award-winning novel, his first film in the French language. 

It’s a controversial revenge thriller about a domineering businesswoman who is raped in her home by a masked man. Refusing to let the attack affect her life, she refuses to report the incident and tracks down the assailant herself.

Verhoeven directs the material with confidence and a troubling lightness of touch, while fearless Isabelle Huppert gives one of the best performances of her long and illustrious career. Some people found Elle empowering while others felt it perpetuated misogynistic attitudes. Either way, it makes for a passionate post-viewing discussion.

Albert Maysles’ penultimate film celebrates fashion icon Iris Apfel, who charms everyone with her quick wit, no-nonsense attitude, and love for the craft. There’s something brilliant in the way the movie starts not by rehashing facts about her, but with Apfel herself going through the process of choosing what to wear. She’s doesn’t just pick clothes; there’s a kind of careful consideration made with each item she chooses, that she remembers every detail about (from where she got them, to the culture and history behind them), and that she intentionally picks in the name of joy. While the documentary doesn’t dive too deep into Apfel’s life, the woman is just undeniably cool. Simply going through her processes and listening to her talk is already an inspiration.

A smashing box office success and an Oscar nominee for Best Visual Effects, Ready Player One has already proven itself to be a smart and surprisingly adequate rendition of today’s techno-anxieties that underpin the use of VR in popular culture. Through its elaborate portrayal of a magnificent utopia—a world where you (your avatar) can be anything you want—the film acts as an antidote to what many would call the end of cinema. Fears about VR interfering with filmmaking and the potential dismantling of film worlds through that particular kind of “virtual realism” are countered by the ever-expanding possibilities of OASIS. Spielberg is anything but cynical here and even if the main characters, Wade and Art3mis, are teenagers who have been born in a world beyond salvation, there is still hope in their idealism. While they find themselves up against the CEO of an evil corporation called  that seeks to overthrow the OASIS, the battle is not as uneven as it seems. Even now, being the giant of sci-fi film that he is, Spielberg still believes in the youth, as he always has.

While it plays the standard beats of the musician biopic, Ray is a fairly entertaining biopic centered on Ray Charles, the man that pioneered soul music, mixing in rhythm and blues, jazz, and gospel into a brand new sound. It goes through plenty of the melodramatic moments familiar to the genre– the prior hardships, the drug addiction, and of course, the moments of musical bliss– and there are some fictionalized moments, but Jamie Foxx’s excellent portrayal and Charles’ tunes are able to carry the film all the way through. Though the way Charles was parented in childhood is a tough watch, and isn’t the best way to parent, Ray sticks true to the singer’s life, with every scene personally approved by the legend before his death.

With today’s capitalistic world, many of us identify ourselves through our jobs, but not many jobs become as personal as that of the actor, the performer, or the artist. As their work revolves around their physical bodies, their expressions, and their personality, it can be hard for some of them to figure out where the line between them and the job is drawn. Being Julia is centered around an aging stage actress, who is clearly talented, but her years in the business transform her, for better or worse. Having to deal with the expectations of what a star is, during the time that was being solidified, her journey is tough, but with the incredible performance of Annette Bening, and the nuance she places in the way Julia can only deal with emotions through the theater, as well as the way she makes her manipulations somewhat of a triumph, is what makes Being Julia a good film.

Admittedly, Gary Cooper, handsome as he is, was just not a great fit with Audrey Hepburn in Love in the Afternoon. It wasn’t that either of them did badly, really, they performed their roles pretty well, but there was just something so off-putting seeing a girl with someone twice her age and was closer to the age of her father. Still, it was pretty hilarious seeing Ariane pretend to have so many lovers, especially as it directly challenges Frank’s own nonchalance towards his multiple love affairs. The script was witty, the characters were memorable, and the score was excellent. While it was a shame the casting wasn’t spot on, Love in the Afternoon still remains as a charming romcom classic.

Is there a musical more spectacular than An American in Paris? Admittedly, the relationships between the characters are quite messy, the behavior is quite ludicrous, and it feels silly to be rooting for Jerry Mulligan’s artwork when he’s being portrayed by Gene Kelly dancing all the time instead of painting. But the orchestral jazz composed by George Gershwin is marvelous, especially when paired with Gene Kelly’s outstanding choreography and the half million dollars spent on the ballet sequence alone. So while the love triangles are quite cliche, the glorious harmonization of music and dance makes it worth the watch. An American in Paris is just so beautiful that we had to recommend it.

A light and simple feel-good movie with great performances from an impressive cast. Ewan McGregor plays the country’s best fisheries expert who is approached by a consultant (Emily Blunt) to help bring the sport of fly-fishing to a desert in the Middle-East, a place at the peak of tensions. The Prime Minister’s office, with the help of the media, try to then bring this story to the public as a show of something good happening in the region. It’s a quirky movie with a beautiful love story and a few interesting ideas on the current state of journalism. Both leads are absolutely charming together.

An uplifting and inspiring movie with Felicity Jones and Armie Hammer. Jones stars as Supreme Court Justice Associate Ruth Bader Ginsburg in this biopic centered around her hallmark case against sex-based discrimination. While it doesn’t feel like it truly conveys the power of Ginsburg’s story, her determination, or all the odds that were stacked against her, it serves as a mellowed-down preview of her remarkable story. Watch this if you’re in need of a good dose of inspiration.

Family is one of the bonds we don’t really get to choose, and for better or for worse, they’re the bonds that form the foundation of our lives. Familia depicts this bond faithfully, as Leo’s remaining family, his three adult daughters, all travel back to the family’s olive orchard to decide on its fate. The way the bond is depicted feels realistic, as each of the family members can confront each other with their choices in the one time of the year they can do so. The film is able to make it work with its excellent cast, and carefully written dialogue that makes the conversation flow naturally. While Familia isn’t a holiday film, it’s a fairly realistic depiction of a family gathering and a timely film to watch before heading home to your family for the holidays.

While marked as a comedy, Zegen isn’t the kind of film that would make you laugh freely– it is, after all, a film that mocks the real-life sex trafficking of impoverished Japanese women during both world wars. This makes it a challenging film to watch, especially to viewers outside the country. But to Shohei Imamura’s credit, the butt of the joke isn’t on the women being sold, but rather, on the titular pimp Iheiji Muraoka, the delusions and lies he told himself and others, and the twisted nationalism he uses to exploit his ladies. Zegen is based on Muraoka’s supposedly true autobiography, but Imamura uses the text to mirror the follies (and consequences) of imperialism.

As much as we’d like to think everyone can be redeemed, there are terrible, awful people that do exist that make it hard to believe in change. Idiots and Angels takes one such person named Angel, and forces him through a highly unusual, creepy, and cynical redemption tale that involves a body transformation that’s less heavenly and more Kafkaesque. As he pulls feathers from his body, Angel’s miserable, terrible self has no choice but to act decently for once. It’s a unique transformation, one we wish our curmudgeonly acquaintances would have, and with no words spoken, Bill Plympton’s unique cross-hatched animation takes center stage. Idiots and Angels may not be the most perfect animated film out there, but it’s certainly one of its kind, something you’ve probably never seen before.

Of course, with wartime spy romances, it’s expected to have conflicted desire, twisty betrayals, and the internal war between personal love and national duty. Black Book delivers this in spades, infusing the drama with writer-director Paul Verhoeven’s propensity for sex and violence, which he brings back to his homeland after two decades apart. The drama is well-made, especially with the talented Carice van Houten as a survival-first composite spy character inspired by several resistance members, but the familiar plot, the melodrama, and the pacing can make the 2 and a half hour runtime feel a bit tedious for some viewers. Still, for fans of the genre, Black Book isn’t a terrible choice to watch.

When adapting a novel, sometimes the book is too long to fit into a whole feature, so filmmakers would create a multi-part film series, or they would cut down just enough to fit a feature length runtime without sacrificing the main points of the novel. Coming Home is a love story where a devoted couple still commit to their bond despite imprisonment, distance, and even failing memory, and in Zhang Yimou’s hands, the direction, structure, and execution definitely tug at the heartstrings. However, this is only the last part of Geling Yan’s original novel The Criminal Lu Yanshi. Zhang may have only been moved by the devotion Yan’s grandparents held for each other, and, to be fair, this devotion is quite moving. However, curiosity remains for the beginning of Lu’s journey– the whole reason and purpose Lu chose to act in ways that warranted his arrest.

The death of the matriarch is, of course, sad, but the countryside wake of May Fools seems to be the opposite at first. Just before the heat of summer, the family reunion seems quaint, idyllic, and occasionally eccentric with Milou’s penchant for beekeeping and crayfish catching. The inevitable family squabble over the estate also gets humorous, and this all seems unimportant to the larger May 68 protests that threatened to escalate into civil war. But director Louis Malle finds the small personal changes of Milou’s family and presents them, not as more or less important, but genuine all the same, finding the humanity within each of these characters.

The concept of a soulmate– the idea that there is someone out there that you’re meant to meet, who’s been made for you to be with, and vice versa– has inspired plenty of romance stories. Dil To Pagal Hai is one such musical centered on the idea. There are some flaws, especially with the love triangle, but the stacked cast, the classic soundtrack, and the elaborate, gorgeous dance numbers are just so enthralling to watch. There’s an interesting thread with the way the two leads’ lives mirror each other even before they meet, as well as the way the film contemplates the decades’ anxieties over crafting the modern woman, which makes Dil To Pagal Hai not perfect, but iconic nonetheless.

There are certain things in a family that are kept secret from kids, especially when it paints the parents in a negative light. One such secret is that a parent betrayed the other, leading to the existence of another family. A Family Thing takes that secret in Arkansas, in a story of two brothers divided by race, that is more common than acknowledged in America. While the film could have delved deeper into the divide, Robert Duvall and James Earl Jones deliver great performances, crafting brotherhood slowly bridged by curiosity, despite its difficult beginnings. A Family Thing is an underrated family drama that could’ve gone wrong, but it works because of the writing and the performances.

Anything Shakespeare would be a classic, of course, but for the longest time, British filmmakers avoided The Merchant of Venice, for a variety of reasons. The most prominent of those reasons was the antagonist Shylock, who, as a Jewish moneylender, was characterized with many anti-Semitic stereotypes, yet, was written with one of Shakespeare’s most eloquent speeches on his humanity. Director Michael Radford’s take on the play sidesteps this issue by an explanation and montage, reframing the entire play to be more sympathetic to Shylock. It’s such an elegant solution, and with Al Pacino’s excellent performance, The Merchant of Venice becomes much more dramatic than comedic, and all the better for it.

When it comes to romance films, Hollywood casts young women with older men so often that this age gap is rarely questioned, even when the characters are supposed to be around the same age range. Murphy’s Romance does have an age gap, but it’s one of the few romances that actually cares to examine the age difference, having the age dynamic in canon and with casting intentionally reflecting it. It’s also one of the few that justifies it with the folksy, old-fashioned charm exuded by James Garner, the stability, wisdom, and kindness Emma isn’t used to, and good ol’ chemistry between two leads that’s more heartwarming than heartracing. Murphy’s Romance won’t be the feet-sweeping romance that Hollywood placed on the pedestal, but it’s just the right two people finding each other at the right time, albeit interstitched with randomly added saxophone and a lot of barn-fixing scenes.

Niagara is an interesting intersection of cinema. For one, it was the first time Marilyn Monroe was given top billing, just before her succeeding ditzy blonde roles. And two, it was a Technicolor noir thriller at a time when color started to take over Hollywood. So it’s already pretty cool to see Monroe as a femme fatale, but Niagara thoughtfully improves upon that idea by taking the lust, envy, and jealousy surrounding Monroe’s stage persona and using it as the catalyst for a captivating murder mystery set in the honeymoon capital of the world. Niagara might be one of Monroe’s lesser known works, but it’s one that presented a dimension we wish she got to explore more in her career.

Has there ever been a relationship dynamic more complicated than The Marriage Circle? It’s not made out of one or two love triangles, it’s actually a whole pentagon between two married couples and one of their friends. This convoluted tangle of relationships makes for a rather surprising comedy. As they interact, not just through silent intertitles, but also through scribbled letters and lip reads, the film transforms the original play into an entertaining romp. Director Ernst Lubitsch expands past the witty dialogue through provocative innuendo, with shots that hint at the heady emotions they shouldn’t feel for each other. But what makes the film surprising is its ending, as it pushed against marital boundaries, long before no-fault divorce. The Marriage Circle might not be as prominent as Lubitsch’s talkies, but it’s the witty silent film that hinted at his future mastery over the comedy of manners.

Intervista isn’t just a film, nor is it just a film-within-a-film. It’s actually four films in one– the mockumentary itself, the interview that the TV crew is filming, the adaptation Federico Fellini is making of Kafka’s Amerika, and the autobiography he was making while filming the interview himself. As such, first time viewers of Fellini might understandably be confused watching this. But for people who have been following his work, the unusually meta direction Fellini takes for his penultimate film feels like a natural extension of his distinct style, his intriguing mix of memory, dream, and fantasy made much more self-reflexive through breaking genre. It’s able to capture Fellini’s process in such a novel way, as well as lend his thoughts over the passing nature of the medium, the studio, and the industry itself. As such, like any good interview, Intervista is a thoughtful deep dive from the master auteur and a must-watch for the filmmaker’s fans.

Arguably Werner Herzog’s most renowned film, Grizzly Man is a thought-provoking documentary about Tim Treadwell, a man who, as the title suggests, lived among bears. While he remained only known for how his story ended, by one of the bears turning on him, Grizzly Man is the exploration of the man’s complex mind, unlimited energy and love for nature. It could be because of the subject matter or because of Herzog’s mesmerizing monotone narration, and maybe it is because of both – but Grizzly Man becomes a supremely beautiful look at psychology and how it collides nature. Also like most of Herzog’s other work it’s a hunt for the peculiar, so expect many funny, absurd, and charming moments.

A college professor (Richard Gere) provides a home for the abandoned Akita he encountered at the train station, against the wishes of his wife (Joan Allen). As a bond develops between dog and master and tragedy suddenly strikes the family, a true act of devotion is displayed by the pup. Based on a supposedly true story which played out in Japan in early 20th century, Lasse Hallstrom’s Hachi finds beauty in its simplicity without being overly cloying and gets empathetic, frankly really strong performance from Gere.

Pawn Sacrifice is a period drama about famed chess player Bobby Fischer (Tobey Maguire), following Fischer’s rise from his childhood in Brooklyn through to his famed matchup with Soviet Grandmaster Boris Spassky (Liev Schreiber) at the 1972 World Chess Championship. The film captures Fischer’s adolescence as a time of burgeoning mastery of the game, while struggling in a fatherless home and beset by early signs of mental illness. Set during the height of the Cold War, tensions between the United States and Russia play a critical role in the story, as they fuel many of Fischer’s fears and anxieties over perceived Russian spying and surveillance. His paranoia reaches a fever pitch in Reykjavik, Iceland, the site of his famous duel with Spassky for the world championship, leading to a remarkably compelling finale. Writer director Steven Knight and director Edward Zwick have crafted a striking depiction of a real-life genius grappling with fraying sanity, and Maguire is stunningly evocative as the abrasive and acerbic Fischer. For the viewer, no advanced knowledge of chess is necessary to enjoy this vivid depiction of one man’s historical achievement in the face of profound mental disturbance.

This is right up your alley if you have a thing for gangster films. Actually, if you have a thing for stupendous acting and just Robert de Niro in general, then A Bronx Tale might do the job for you. The 1960’s was a tough time for Lorenzo (de Niro), father to conflicted Calogero (Lillo Brancato), who seems to have befriended Bronx’s big man, Sonny (Chazz Palminteri). Torn between his moral integrity and a few other factors in the mix, the young boy’s leap to the crazed world of mobsters doesn’t get any more real than this.
Tragedy and fascination take human form through the eyes of De Niro’s directorial debut and Palminteri’s work of art, leaving you with a gripping feeling long after the credits have stopped rolling.

What was deemed Woody Allen’s most commercially successful film, Hannah and Her Sisters seemed to mark a turning point in the director’s neurotic palatability. Yet, it has not aged well at all. Yes, the Oscar-winning script is witty and aphoristic in a proper measure, the acting is on par with the stars involved (Mia Farrow, Michael Caine to name a couple), but the film as a whole barely registers as something more than mediocre. Especially in hindsight when—not even mentioning the Farrow/Allen controversies—we know how solidified certain tropes and characters types are for Woody Allen, there’s nothing about Hannah and Her Sisters that can remain truly fresh for contemporary audiences. That said, being in the company of such a stellar ensemble cast, also including names like Carrie Fisher, Maureen O’Sullivan, Julia Louis-Dreyfus. A curious presence here is that of Ingmar Bergman collaborator Max Von Sydow, star of The Seventh Seal, especially since Allen borrowed themes and plot allusions from the Swedish filmmaker’s later work, Fanny and Alexander (1982).

There’s no easy way to talk about racism – it’s a nebulous set of ideas that shift and change and manifests in numerous ways that many people can’t even identify as racism because of how prevalent it is. But Dr. Ibram X. Kendi has been able to write down a fairly comprehensive narrative that outlines key historical moments that shaped the world’s concept of race and Blackness, and this narrative is brought to the screen through vivid animations and strategic sequencing by director Roger Ross Williams in new Netflix release Stamped from the Beginning. It’s a provocative, passionate investigation, and it’s one that should be required viewing.