Remarkable 21st Century Movies You Might Have Overlooked

      Staying within the 21st century, here are 18 remarkable films that you might have overlooked…

      The New York Times recently conducted an opinion survey involving 500 industry professionals and readers to create a list of the 100 greatest films of the 21st century. This list features several films that made a significant impact on public consciousness, including some big Oscar winners. Parasite topped the rankings for both the professionals and the general audience. It was followed closely by Mulholland Drive in both lists before diverging slightly in opinions, though many films overlapped. Not surprisingly, all the films mentioned are quite popular.

      A prevailing sentiment among cinephiles of a certain age is that they don’t produce films like they used to. If Parasite is deemed the best film of the 21st century, where does it stand in the legacy of cinema? Even Bong Joon-ho would likely admit it doesn’t compare to Citizen Kane. However, the notion among some more pretentious millennial (and older) film enthusiasts, that the 21st century lacks quality cinema, is a misconception. A list of 100 popular choices may suggest otherwise (along with a few rarer gems), but at Flickering Myth, we’re going to explore further. Here are 18 exceptional films from the 21st century that you may have missed.

      **Super Happy Forever**

      Let’s begin with a film that has just become available for streaming (on Mubi). After making the festival rounds last year, this nuanced, reflective, and intricately crafted drama by Kohai Igarashi showcases a beautifully executed narrative. Divided into two parts, it starts with Sano (Hiroki Sano) and his friend revisiting the picturesque holiday resort where he encountered his (recently deceased) wife Nagi (Nairu Yamanoto) five years earlier. Burdened by grief and struggling to connect with the past, Sano searches for remnants of Nagi, including a long-lost red cap and a song she adored. His self-destructive tendencies alienate his friend along the way.

      The narrative then shifts back to his chance encounter with Nagi, illustrating their initial days together, marked by a more optimistic Sano and Nagi’s charmingly whimsical nature. Igarashi skillfully weaves moments of ambiguous significance for Sano, which become clearer to the audience when revisiting his past, while preserving an air of uncertainty. This film is a low-key masterclass of performance, enhanced by simple yet stunning cinematography.

      **Loveless**

      Opening with the disappearance of a boy overwhelmed by his parents’ fractured relationship, Loveless creates an atmosphere of suspense, hinting at a dark conclusion. This film remarkably captures the inherent flaws and selfishness of humanity while still evoking sympathy, teasing the potential of a missing person thriller yet transforming into a profound character study.

      The film is raw, impactful, and visually stunning. Andrey Zvyagintsev’s expert direction is bolstered by brilliant performances from Maryana Spivek and Aleksey Rozin as the emotionally repressed and self-centered parents unable to take responsibility for their actions. This film is unforgettable, leaving a significant emotional impact.

      **A Fantastic Woman**

      Sebastian Lelio’s celebrated drama straddles the line of thriller, instilling a sense of discomfort. It follows an older married man embroiled in an affair with a trans woman (Daniela Vega). When he suffers a heart attack and dies during one of their meetings, Marina faces the aftermath—dealing with exclusion from the grieving process, suspicion, and societal ostracization. As micro-aggressions escalate to physical threats, she navigates the loss of a man she cared for. Vega delivers an outstanding performance, while Lelio exhibits his directorial finesse.

      **There’s a Girl at My Door**

      After leaving her previous precinct under a cloud of controversy, Detective Young-nam (Doona Bae) takes on a role in a remote coastal village in Korea. Her sexuality becomes a point of contention, having previously resulted in misconduct charges. This focus intensifies when a young girl seeking refuge from suspected abuse by her parents comes into her life. As rumors circulate and her sexuality is made public, Young-nam faces malicious allegations while she naively blurs the lines of her duties.

      Eventually, Young-nam faces ostracism along with the task of proving her innocence while safeguarding the troubled girl. July Jung’s film tackles a challenging subject, directed with impressive confidence, while Bae delivers a stellar performance. It's disappointing that it took so long for Jung to release another film after such a strong debut.

      **Burning**

      Speaking of Lee Chang-dong, his 2018 film Burning arrived the year before Parasite but did not generate as much buzz despite receiving similar acclaim. This film is a masterclass in developing a layered, ambiguous narrative filled with subtext. It presents a mysterious plot involving