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Drive My Car (2021)
7.5/10on IMDb
Released
Ryusuke Hamaguchi joins a multilingual production of Uncle Vanya to a director's long, uneasy reckoning with his dead wife. The journeys with his driver create a different space for speech and silence. Its leading place reflects a remarkably patient alignment of performance, grief and the work of listening.
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The Power of the Dog (2021)
6.8/10on IMDb
Released
Jane Campion builds a western around Phil Burbank's performance of masculine authority and the vulnerabilities it conceals. Benedict Cumberbatch makes intimidation feel practised, while the household quietly changes around him. The precision of the withheld narrative gives every gesture a second possible meaning.
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The Worst Person in the World (2021)
7.7/10on IMDb
Released
Joachim Trier follows Julie through work, love and attempts to become a coherent version of herself. Renate Reinsve gives uncertainty energy without making every decision admirable. The film's shifts in form and emotional register make the familiar problem of approaching adulthood unusually vivid.
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Petite Maman (2021)
7.3/10on IMDb
Released
Céline Sciamma turns a girl's encounter in the woods into a simple, extraordinary way of meeting her mother's childhood. The fantasy needs very little explanation because the play and shared tasks feel concrete. Its place recognises how much emotional possibility a short, modestly scaled feature can contain.
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Flee (2021)
7.9/10on IMDb
Released
Jonas Poher Rasmussen uses animation to protect a refugee's identity while allowing memory to take different visual forms. Amin's account connects displacement to the difficulty of living openly in the present. The documentary earns its position through a method inseparable from the person telling the story.
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Memoria (2021)
6.4/10on IMDb
Released
Apichatpong Weerasethakul follows a woman disturbed by a sound she cannot locate, letting listening alter her relation to Colombia's places and histories. Tilda Swinton makes curiosity a quiet physical state. Its treatment of duration and sonic memory gives the year an exceptional sensory experience.
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The Souvenir: Part II (2021)
7.0/10on IMDb
Released
Joanna Hogg follows Julie making a graduation film from an experience she cannot yet fully understand. The act of directing becomes a struggle over memory and self-presentation. Its place rests on showing artistic development as practical, collaborative and painfully incomplete.
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Licorice Pizza (2021)
7.1/10on IMDb
Released
Paul Thomas Anderson follows Gary and Alana through schemes and uncertain attachments in 1970s California. The unstable age and power differences remain part of the discomfort. Its episodic momentum earns inclusion by making a particular social world feel expansive without forcing it into a neat coming-of-age lesson.
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Titane (2021)
6.4/10on IMDb
Released
Julia Ducournau turns bodily transformation and a false reunion into an extreme inquiry into identity and care. Agathe Rousselle and Vincent Lindon make the unlikely emotional bond matter amid the provocation. Its place recognises a singular genre film prepared to make tenderness strange.
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The Green Knight (2021)
6.5/10on IMDb
Released
David Lowery follows Gawain towards a promised encounter that tests the story he wants to tell about himself. Dev Patel gives hesitation the weight usually reserved for heroic action. The fantasy earns its place through design and imagery that keep honour, fear and mortality unresolved.
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The Lost Daughter (2021)
6.6/10on IMDb
Released
Maggie Gyllenhaal places a mother's uneasy attention to a younger family beside memories of her own decisions. Olivia Colman and Jessie Buckley prevent the two ages of Leda from settling into a simple explanation. Its intimacy makes the costs and desires around motherhood unusually difficult to dismiss.
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Passing (2021)
6.6/10on IMDb
Released
Rebecca Hall follows two Black women's reunion across the different racial identities through which they move in 1920s New York. Tessa Thompson and Ruth Negga keep recognition entangled with desire and threat. The controlled monochrome images make social looking part of the drama.
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The French Dispatch of the Liberty, Kansas Evening Sun (2021)
7.1/10on IMDb
Released
Wes Anderson frames a final magazine issue through stories whose forms and voices keep changing. The elaborate design gives reporting, illustration and editing a visible cinematic analogue. Its place rewards a film whose miniature worlds remain connected by affection for the people who make stories.
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Spencer (2021)
6.5/10on IMDb
Released
Pablo Larraín concentrates Diana's imagined crisis into a royal Christmas whose rituals become oppressive. Kristen Stewart gives the performance a restless bodily tension. Its departures from literal biography make it a distinctive chamber drama about a public role closing around a person.
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The Tragedy of Macbeth (2021)
7.1/10on IMDb
Released
Joel Coen strips Shakespeare's tragedy into a severe, artificial world of corridors, shadows and unstable signs. Denzel Washington and Frances McDormand make ambition feel both intimate and exhausted. It earns inclusion because the design and performances find a coherent new cinematic form for familiar language.
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Benedetta (2021)
6.7/10on IMDb
Released
Paul Verhoeven makes a nun's visions inseparable from questions of erotic desire, institutional authority and public belief. Virginie Efira keeps sincerity and performance difficult to disentangle. The film's provocation earns a place because it repeatedly returns power to the question of who controls a story.
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Red Rocket (2021)
7.1/10on IMDb
Released
Sean Baker follows Mikey Saber's return to Texas as charm becomes an instrument for exploiting the people around him. Simon Rex makes self-belief energetic and appalling at once. The film's attention to work, place and opportunism gives this character study a sharp social edge.
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The Card Counter (2021)
6.2/10on IMDb
Released
Paul Schrader follows a card player's rigid routines until another man's desire for revenge interrupts them. Oscar Isaac makes self-control feel like an unstable response to guilt. The connection between gambling, punishment and the legacy of military violence gives the drama its distinctive severity.
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The Mitchells vs. the Machines (2021)
7.6/10on IMDb
Released
Michael Rianda turns a family road trip into a robot-apocalypse adventure without losing its central argument about a daughter being understood. The layered animation captures Katie's own visual imagination. Its inclusion rewards a comedy whose hectic invention remains attached to family relationships.
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Encanto (2021)
7.2/10on IMDb
Released
Byron Howard and Jared Bush organise a magical Colombian household around the pressure to be useful and exceptional. Mirabel's lack of a gift reveals what the family refuses to discuss. The songs make competing responsibilities legible, giving the animation an emotionally coherent ensemble structure.
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West Side Story (2021)
7.1/10on IMDb
Released
Steven Spielberg reworks the musical through movement and space that make the neighbourhood's social divisions visible. Ariana DeBose's Anita gives the tragedy particular force. Its place rests on filmmaking that treats choreography, performance and dramatic consequence as parts of one language.
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Dune (2021)
8.0/10on IMDb
Released
Denis Villeneuve gives the first part of Paul's arrival on Arrakis a physical sense of scale, labour and danger. The spectacle introduces a world whose resources and loyalties are already contested. Its discipline earns inclusion even as the narrative deliberately leaves its central transformation unfinished.
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Mass (2021)
7.5/10on IMDb
Released
Fran Kranz confines two sets of parents to a room after a school shooting, letting their different losses remain present in every exchange. The ensemble makes listening difficult and consequential. Its spare form earns a place for trusting performance to carry an extraordinarily fraught conversation.
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After Yang (2022)
6.6/10on IMDb
Released
Kogonada follows a father seeking to repair an android companion, then discovers a life within the memories the machine retained. The quiet science-fiction premise changes how the family understands attention and care. Its 2021 Cannes public premiere places it here despite a 2022 commercial date.
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