Not “best.” Not “favorite.” Not “most likable.” Most significant. Some are obvious. Some obscure. A few will be controversial. Let the debate begin.

Our—incomplete—guide to the list’s oversights, travesties, and glaring omissions

It’s about revolution. Or elections. It can be a thriller. Or a comedy. It’s a movie whose politics we love. It’s a movie whose politics we detest. It’s even, sometimes, a zombie movie.

Film critic J. Hoberman assembled nearly 80 experts to select the movies that matter most—and now you can cast your vote, too.

Tina Satter’s film “Reality” on HBO captures the cruelty of the surveillance state.

Paul Schrader’s portrait of an ex–white supremacist gang member is an unlikely feat of optimism.

Stories from the last strike can’t explain the current action. Nor should they necessarily give us comfort.

The Amazon Prime show starring Rachel Weisz is oddly suspicious of new technology in reproductive health.

Cristian Mungiu’s “R.M.N.” zooms in on the resentments and anxieties roiling Europe.

The odds are stacked against Michelle Williams in the new film “Showing Up.”

How Charles Portis’s greatest success overshadowed the rest of his work

Director Davy Chou’s second movie is an adoption story for an age of ambivalence.

Films from Charlotte Wells and Lukas Dhont aim for intimate, almost imperceptible moments of connection rather than a grand affirmation.

Alice Diop’s courtroom drama is a story of aspiration and cruelty in a racist society.

Is “Infinity Pool” too Cronenbergian?

The election denial propaganda film was praised by the likes of Donald Trump and Marjorie Taylor Greene—and utterly tanked at the box office.

The Netflix adaptation of Don DeLillo’s novel makes a thoroughly American spectacle of suffering.

“All The Beauty And The Bloodshed,” Laura Poitras’s documentary about Nan Goldin, is part portrait of the artist, part exposé.

Stephanie LaCava’s novel and David Cronenberg’s film “Crimes of the Future” each imagine a world without pain.

In a new film about the Harvey Weinstein exposé, the protagonists argue that the problem is the system, not one man in particular. The movie itself ignores the lesson.