Justin Chang

As powerful a grip as King Arthur and his Knights of the Round Table still exert on our imaginations, there haven't been enough great or even good movies made about them. There have been some, of course — I'm fond of the lush Wagnerian grandeur of John Boorman's Excalibur and will always love Monty Python and the Holy Grail — but they're more the exception than the rule.

The 60-year-old South Korean writer-director Hong Sang-soo is one of the most tirelessly productive filmmakers working today. He's made more than two dozen films over the past couple of decades, sometimes churning out one or even two a year. The consistency and quality of his work have earned him a significant following at film festivals and among arthouse audiences, who've come to love his wry and melancholy movies: slender, low-budget dramedies that are often focused on the fractious dynamics between women and men.

Having been fortunate enough to attend the Cannes Film Festival every year since 2006, skipping this year's event wasn't easy. Cannes is the most important event of its kind: a thrilling, maddening 10-day marathon of red-carpet glamor and behind-the-scenes deal-making as well as a showcase for some of the best new movies from all over the world.

Eight years ago, Steven Soderbergh announced his retirement from feature filmmaking. Happily for us, it turned out to be short-lived.

In the sensational 2018 thriller A Quiet Place, humanity has been ravaged by hideous alien predators with extraordinary powers of hearing. The story follows the Abbotts, a family of survivors who must stay quiet at all times, unable to talk or sneeze or step on a creaky floorboard or they'll likely be dead.

It was a killer word-of-mouth hook: Here was a movie you had to watch in a theater in your own state of silence, with no slurping or popcorn crunching allowed.

Chalk it up to our eternal fascination with human evil or to a movie industry that's short on original ideas, but it seems like almost every classic villain nowadays is guaranteed their own feature-length backstory.

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Before I saw The Disciple, I knew nothing about Hindustani, or northern Indian, classical music. By the end of the movie, I knew a little bit more, though I'd still be hard-pressed to follow the different intonations that singers bring to their performances, or to explain how a raga works. (That's the musical framework that allows performers to improvise.) Fortunately, no expertise is needed to appreciate The Disciple, which is both a welcome introduction to a kind of music we rarely hear onscreen and a richly layered story of a young man's artistic struggle.

About Endlessness is a fitting title for a movie about the futility of the human condition, but happily, the movie itself is anything but a slog. For one thing, it's only 76 minutes long. And in every one of those minutes, it strikes an exquisite balance between deadpan humor and acute despair, offset by the faintest glimmer of hope.

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When a violent ethnic conflict broke out in Bosnia and Herzegovina in 1992, the writer-director Jasmila Zbanic was a teenager in Sarajevo, where she would spend the next three years living under siege.

The instability and violence of that era would indelibly shape Zbanic's later work as a filmmaker: In movies like Grbavica: The Land of My Dreams and For Those Who Can Tell No Tales, she explored the aftermath of the war and the deep scars it left in her country's psyche.

Raya and the Last Dragon is a lovely, moving surprise. Its big selling point is that it's the first Disney animated film to feature Southeast Asian characters, but like so many movies that break ground in terms of representation, it tells a story that's actually woven from reassuringly familiar parts. I didn't mind that in the slightest.

Chloé Zhao's amazing new movie, Nomadland, begins with an elegy for Empire, Nev., one of those old-fashioned company towns that thrived during America's post-World War II manufacturing boom. But in 2011, in the wake of a devastating global recession, the local gypsum mine shut down and Empire became a ghost town, displacing hundreds of residents in the process.

There have been many strong documentaries over the years about the history of the Black Panther Party, but Judas and the Black Messiah is the first major Hollywood drama I've seen that puts the organization and its activism front and center.

While it remains to be seen what this year's COVID-19-impacted Academy Awards ceremony will look like, my guess is that there will be an Oscar winner for best international feature, the category that until recently was known as best foreign-language film. I haven't come close to seeing the 93 films that have been accepted — a record for the Academy — but I'm happy to recommend two of them, both dramatic thrillers that demonstrate the power and persistence of love.

It's been awhile since I've seen a new studio picture like The Little Things — a big, meaty, slickly made crime drama featuring a trio of Academy Award winners. That's partly because of COVID-19, which caused theaters to close 10 months ago and led the studios to postpone some of their biggest titles. But even if there wasn't a pandemic and The Little Things had been widely released in theaters as planned, it might still have played like a relic from an earlier moviemaking decade.

The year 2008 saw the publication of Aravind Adiga's novel The White Tiger and the release of the film Slumdog Millionaire, two stories about young men escaping poverty and defying the odds against the backdrop of a rapidly globalizing India.

If you didn't know what they were about, you'd be forgiven for confusing the striking new movies Promising Young Woman and Pieces of a Woman. They do have similarities that go beyond their titles: Each is an intense but uneven film about the lingering effects of trauma and tragedy. And each one centers on an American woman played by an English actor doing her strongest work in some time.

It was a year when most of us stayed away from movie theaters, but it wasn't a year without movies. While the major studios largely set their sights on 2021 (and a few released their big titles on streaming services), it was an unsurprisingly terrific year for independent narrative films, feature-length documentaries and pictures of all types and genres from overseas. Here are the 10 that meant the most to me, arranged, per my annual tradition, as a series of themed pairings:

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Farewell Amor begins with a scene at JFK Airport, where a man greets the wife and teenage daughter he hasn't seen in years.

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Steve McQueen has made searingly powerful films about historical injustice, from slavery in the American South to a 1981 hunger strike in a Northern Irish prison. But only now has he dramatized the experiences of Black women and men in the U.K., specifically the West Indian neighborhoods of London where he grew up. He clearly has a lot to say: His anthology Small Axe, which he directed and co-wrote, consists of five dramatic films, each one telling a different story set between the 1960s and the 1980s.

Back in 2017, the English writer and director Francis Lee made a wrenching drama, called God's Own Country, that I wish more people had seen. It told the story of two isolated young men on the rugged moors of North Yorkshire, tending a flock of sheep and falling passionately in love — sort of like a British Brokeback Mountain, only a lot more explicit and with a much happier ending.

Frederick Wiseman's new documentary, City Hall, was shot in 2018 and 2019, which means that it already plays like a pre-COVID-19 time capsule.

Although it's not as widely known in the U.S. as his adventure tales like White Fang and The Call of the Wild, Martin Eden is now regarded as one of Jack London's greatest achievements.

I doubt I'm alone when I say that this year has been a blur: Sometimes it feels like only yesterday that I was going to the office or heading outside without a mask, and sometimes it feels as though an eternity has passed. This past week I watched two absorbing new documentaries that both seem to bend and distort our sense of the passage of time.

One of them, which is actually called Time, spans more than two decades. The other one, titled Totally Under Control, focuses on the very moment we're living in.

While the American film industry still has a long way to go in nurturing movies made by women and people of color, the Sundance Film Festival has long provided an important platform for marginalized voices.

The Devil All the Time, now streaming on Netflix, has enough awful characters, festering secrets and dead bodies to furnish a whole TV series, though I'm not sure I'd want to see a longer version of this story. The movie is based on a densely plotted 2011 novel by the Ohio-born author Donald Ray Pollock, and it's grim in ways that can be both exciting and a little wearying: so many twists and betrayals, so many horrific acts of violence.

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