The Essential Films of 2015

      We reflect on the cinematic offerings of 2015 with ten essential modern classics from a decade ago…

      Looking back through our time telescope to 2015 reveals a Robert Eggers film worth noting, alongside a flourishing horror genre that presented numerous cult treasures. This situation feels reminiscent of 2025, where Eggers' recent Nosferatu bites into the box office as we emerge from a year filled with cult horror films, with more on the horizon.

      In recent years, there has been a significant upswing in creatively ambitious and captivating indie films from auteur filmmakers. While the mainstream market has seemed somewhat lackluster, the rise of engaging indie cinema has given film enthusiasts much to cherish. This trend may well have started in 2015, when studios like A24 began gaining momentum, and many now-established filmmakers were just making their mark. It’s time to indulge with these ten must-see films from 2015…

      **Mad Max: Fury Road**

      Tentpole cinema has been quite a mixed bag for years, often prioritizing formula and franchises over originality and genuine directorial vision. However, in 2015, one blockbuster truly distinguished itself and has rarely been matched in this genre since. *Mad Max: Fury Road* marked George Miller’s anticipated return to a post-apocalyptic desert landscape. This time, without Mel Gibson, Tom Hardy stepped in as the titular anti-hero who often finds himself entangled in larger narratives.

      *Fury Road* initially captured attention with remarkable trailers that teased an outstanding film. Even back in 2015, trailers were becoming increasingly mundane and formulaic, frequently revealing too much about the movie due to studios’ beliefs about audience indifference towards spoilers. Nonetheless, those trailers were exceptionally thrilling (and have not been surpassed since). The film itself lived up to the hype, featuring spectacular action within a deceptively simple plot and Charlize Theron outshining Tom Hardy. Miller's visionary reboot of his iconic franchise was relentless and electrifying, boasting astonishing set pieces. Comparatively, last year’s *Furiosa* felt underwhelming.

      **Our Little Sister**

      Now, let’s shift gears entirely and take a more subdued approach. Hirokazu Kore-eda revitalized the Ozu-inspired humanist melodramas in Japanese cinema, consistently crafting simple, nuanced, and captivating stories about family dynamics in various forms. In *Our Little Sister,* he narrates the story of three sisters who reconnect with their estranged father and discover they have a half-sister.

      The film is charming, touching, compelling, and beautifully observed. Kore-eda takes a non-intrusive stance on his drama, always employing a straightforward and objective approach. He elicits wonderful performances and gradually pulls the audience into the narrative.

      **Green Room**

      Jeremy Saulnier made a notable return with last year’s *Rebel Ridge,* reminding us of the exciting voice he established between 2007 and 2015 with films like *Murder Party,* *Blue Ruin,* and this: *Green Room.* Saulnier excels at taking straightforward concepts and infusing them with a sense of irreverence that makes them feel fresh.

      In *Green Room,* a punk band fights for survival after witnessing a murder at the club where they perform, quickly realizing it’s a haven for a Neo-Nazi gang. The late Anton Yelchin delivers a magnetic performance as always, while Patrick Stewart surprises as the menacing leader of the neo-Nazis. Tense, confined, and darkly humorous at times, it’s a brilliant little indie horror/thriller.

      **The Witch**

      Robert Eggers has made a name for himself as one of modern cinema’s visionary voices, yet his films navigate well-trodden paths. We’ve seen plenty of folk horror and Nordic mythology. His breakout film, *The Witch,* offered a unique perspective on an age-old concept, crafting a slow-building, ambiguous, and atmospheric folk horror piece rich with gothic elements.

      Anya Taylor-Joy clearly showed she was destined for greatness, evidenced by her captivating performance. Full of detail and cinematic allusions, Eggers provides many memorable visuals throughout. After this film, you’ll also want to live deliciously—and maybe be cautious of goats.

      **The Gift**

      *The Gift* serves as a Hitchcockian/Stephen King-inspired psychological thriller that feels like a captivating 90s potboiler, showcasing not just Joel Edgerton’s charm in front of the camera but also his skills behind it, as he stars and directs.

      Edgerton plays Gordo, a long-lost acquaintance of Simon (Jason Bateman), who reintroduces himself and becomes an unsettling and increasingly menacing presence with gifts. What secrets lie beneath? Although *The Gift* arrived with little fanfare, it gained considerable attention for its quality. The small cult following it amassed is well-deserved, although it seems to be fading from public consciousness. If you haven't heard