
A Separation
The first Iranian film to win the foreign language Oscar: Farhadi built a moral maze where every person is partly right, and you will change sides several times.

The first Iranian film to win the foreign language Oscar: Farhadi built a moral maze where every person is partly right, and you will change sides several times.

It won the Palme d'Or and audiences walked out of it: Malick set a 1950s Texas boyhood against the formation of the universe and left the connections to you.

It will alter how you think about doing one thing for an entire lifetime: an eighty-five-year-old sushi master in a Tokyo subway station, still not satisfied with himself.

It looks and sounds like nothing else from its decade: neon Los Angeles, a synth score, a driver who barely speaks, and sudden violence that arrives without warning.

A film about a spreadsheet that plays like a thriller: Sorkin and Zaillian turn Billy Beane's 2002 Oakland roster into an argument between a broke general manager and every scout in his building.

Woody Allen's biggest hit at the box office is also his gentlest: a screenwriter stuck on a novel steps into a car at midnight in Paris and is driven straight into the 1920s.

Steve James followed former gang members whose entire job is talking people out of retaliation: Chicago violence filmed as something interruptible, one conversation on one corner at a time.

Scorsese made a children's film in 3D to argue for film preservation: an orphan living inside a Paris railway station keeps a broken automaton his father left him, and the station watches him.

Hawaii has never looked less consoling: George Clooney plays a landowner left in charge of two daughters and a vast family trust while his wife lies unconscious after a boating accident.

Studios genuinely believed women would not carry a raunchy comedy, and this ended the argument in one weekend: Kristen Wiig and Annie Mumolo wrote it, and the real romance is between friends.

J.C. Chandor shot it in seventeen days on one office floor and got Jeremy Irons and Kevin Spacey anyway: an investment bank works out overnight that it is holding something worthless.

The first silent film to take Best Picture since 1929, made by a French director nobody in Hollywood knew: a star of the silents watches sound arrive and refuses to adapt.

Ten years and eight films with the same three actors growing up on camera, which no other series has managed: David Yates closes it with the largest battle the series ever attempted.

A French box office phenomenon built on two performances: a quadriplegic aristocrat hires a man from the projects precisely because he refuses to be careful around him, and Omar Sy took the Cesar.