The 2010s had a very fascinating route in terms of the influx of films released. This is the period when superheroes eventually dominate the box office movie by movie and paved way for cinematic universes, an idea that major studios are now clamoring over the past few years. The period also saw more filmmakers showing fiercer voices, championing for more diverse stories and representation, as well as the rise of streaming services and their impact on film and television distribution and production models.
With all these things happening and more, it’s almost impossible to describe the 2010s into something singular. We asked select film critics, reviewers, journalists and enthusiasts, “What is the one film that defined the 2010s?” in an ambitious attempt to provide a make sense out of what 2010s cinema truly represents.
ANINO SA LIKOD NG BUWAN (2015) by Jun Lana
Jun Lana’s “Anino sa Likod ng Buwan.” Photo courtesy of The Ideafirst Company
“For me, when I think of the non-stop turmoil and anxiety that we and all our countrymen have been going through – and when I think of how Philippine cinema continued to embrace digital independent filmmaking this decade – I think of Jun Lana’s “Anino sa Likod ng Buwan.” In many ways, it’s also a movie about communication, especially during a time of war and uncertainty. And it’s such a beautifully Filipino film that no one else could have made.” – Emil Hofileña, Cinemil
THE AVENGERS (2012) by Joss Whedon
Joss Whedon’s “The Avengers”. Photo courtesy of Marvel Studios
“I guess it doesn’t have to be the best film but perhaps the most influential one. Offhand, I would say “The Avengers” (2012) which really energized the idea of cinematic superhero universes in both Marvel and DC.” – Bernie Bagaman, Screen Raven
“[The Avengers] started the trend of making big movies even bigger and making cinematic universes a thing.” – Nazamel Tabares, Pelikula Mania
AVENGERS: ENDGAME (2019) by Joe Russo and Anthony Russo
Joe and Anthony Russo’s “Avengers: Endgame”. Photo courtesy of Marvel Studios
“The culmination of 10 years of world-building, translating the concept of shared universe from comics to the big screen. Now, every studio wanted to copy what Marvel Studios have done with their properties.” – Jerald Uy, Secret HQ
“[Avengers: Endgame] wasn’t perfect but it was a satisfying payoff for fans who have followed the MCU timeline. There’s something about that entire franchise that finally made geekery feel more accepted in the mainstream, which was a feat I never thought possible as I have negative experiences as a geek when I was younger. Geeking out became cool. It was an interesting shift in pop culture.” – Karen Mae De Vera, Freelance Writer
BLACK SWAN (2010) by Darren Aronofsky
Darren Aronofsky’s “Black Swan”. Photo courtesy of FOX Searchlight
“If there’s one film that defined the 2010s era of filmmaking, it has to be “Black Swan.” The current decade has been known for films that have defied norms and evoked various emotions through imagery and storytelling. “Black Swan” did just that. Darren Aronofsky’s masterful direction, Matthew Libatique’s crafty visual command and Andres Heinz’s powerful story propelled the film into the masterpiece it is today.” – Yuri Mangahas, Flipgeeks
EIGHTH GRADE (2018) by Bo Burnham
Bo Burnham’s “Eighth Grade”. Photo courtesy of A24
“[Eighth Grade] captures the decade with precision. From the internet/social media culture, to all the fears and insecurities experienced by a parent and a child. The film carries universal truths about this era even if the lead character is a teenager.” – Stephanie Mayo, The Daily Tribune
HENERAL LUNA (2015) by Jerrold Tarog
Jerrold Tarog’s “Heneral Luna”. Photo courtesy of TBA Studios
[On the movie that defined the 2010s] Top of the mind is “Heneral Luna.” – Jed Chua, Reel Advice
KUNG PAANO SIYA NAWALA (2018) by Joel Ruiz
Joel Ruiz’s “Kung Paano Siya Nawala”. Photo courtesy of TBA Studios
“Kung Paano Siya Nawala is a romantic film that reflects a generation searching for identity and love. Face blindness is a condition which is not discussed before in any movies. It’s also a condition where a person’s inability to connect with others. What I love about this film is that even Lio (JM De Guzman) has face blindness, his loved ones didn’t treat him differently. His loved-ones didn’t force him to do something that might isolate him from his condition.” – Jim Paranal, Third World Cinema Club
MAD MAX: FURY ROAD (2015) by George Miller
George Miller’s “Mad Max: Fury Road”. Photo courtesy of Warner Bros. Pictures
“[Mad Max: Fury Road] not rely on nostalgia or its source material as the film was able to draw in a new generation of fans for its unique and visionary style (now often copied and referenced in pop culture). Not only is the action and narrative captivating but it is also a timely film, with its feminist themes and messages on conversation and the environment. What a lovely day indeed!” – Ica Cheng, Team PCheng
MOONLIGHT (2016) by Barry Jenkins
Barry Jenkins’ “Moonlight”. Photo courtesy of A24
“I think “Moonlight” winning Oscar Best Picture was also a turning point for Hollywood in its thrust for multisectoral representation. (But I didn’t like it)” – Fred Hawson, Fred Said and ABS-CBN News Online
TIE – MOONLIGHT (2016) by Barry Jenkins and CALL BE BY YOUR NAME (2017) by Luca Guadagnino
Luca Guadagnino’s “Call Me By Your Name”. Photo courtesy of Sony Pictures
“In my honest opinion, the definitive films of the 2010s in my book are…CALL ME BY YOUR NAME and MOONLIGHT. As we live in an age in which we must be sensitive towards LGBTQ+ members, more and more people must be empathetic towards these members once outcasted by society. The two films mentioned do a great job of doing that and more in a way that favors authenticity than mere sympathy. Not only are they films of immaculate artistic craft, they are also films that have changed the landscape of Hollywood today ––– pushing more filmmakers to create films that cater to the LBTQ+ society, using their deftness as opportunity for sincere representation in film with stories that are rooted deep in the emotions of such members while also being universal in their appeal, and accessible in their craft.” – Louie Baharom, Cinephila.ph
THE HANDMAIDEN (2016) by Park Chan-Wook
Park Chan-Wook’s “The Handmaiden”. Photo courtesy of Moho Film
“Few films give their female characters complete unironic agency. THE HANDMAIDEN, Park Chan-wook’s exuberant adaptation of Sarah Waters’ overtly feminist novel, (dis)places its women in the world of Park’s movies. And as if taking a life of their own, the women defiantly find their way beyond the film, and by extension the conventions encroached in stories-as-told-by-men. History will look back to this movie as an important text about women in cinema.” – Armand Dela Cruz, Unreel.ph
THE IRISHMAN (2019) by Martin Scorsese
Martin Scorsese’s “The Irishman”. Photo courtesy of Netflix
“If you needed any more proof that we’re really in the age of streaming, look no further than Martin Scorsese’s The Irishman. It used to be that original content on streaming services were filled with the likes of crappy Adam Sandler movies and rom-coms that you’d never bother watching in theaters. With Scorsese’s 3-hour opus being released on Netflix, it further validates streaming services as a legitimate platform for movies. The merits of The Irishman will speak for itself but how it was released tells a lot about the decade that was. It might not be evident right now but years from now I think we’ll look back on The Irishman movie as a game-changer for the industry.” – Rey Dela Cruz, REYVIEW
THE SOCIAL NETWORK (2010) by David Fincher
David Fincher’s “The Social Network”. Photo courtesy of Columbia Pictures
“The one film that comes to mind when I think of movies that define the 2010s is David Fincher’s “The Social Network.” Not only does it find a perfect balance between prestige Hollywood filmmaking and the postmodern, almost punk style of independent filmmaking that’s only become more prominent this decade, but the film is also eerily prescient. Jesse Eisenberg’s Mark Zuckerberg is only more recognizable today, in a world that’s become more discerning of billionaires of massive corporations, and of the technology that unites us all. I really feel as if the 2010s have revolved primarily around humanity’s struggle to communicate truthfully despite our worst impulses, and Fincher made the ultimate statement about it.” – Emil Hofileña, Cinemil
“The Social Network because it predicted the rising disconnect due to social media.” – James Espinoza, Letterboxd
THE SHAPE OF WATER (2017) by Guillermo Del Toro
Guillermo Del Toro’s “The Shape of Water”. Photo courtesy of FOX Searchlight
“I’d probably go with “The Shape of Water.” It’s one of those rare films that was both embraced by critics and audiences. Plus, it’s a throwback to old fashioned moviemaking. It is both art and popcorn entertainment.” Edwin Sallan, Business Mirror
THE TREE OF LIFE (2011) by Terrence Malick
Terrence Malick’s “The Tree of Life”. Photo courtesy of Plan B Entertainment
“I have the softest spot for Terrence Malick’s “The Tree of Life.”There’s beauty in its idiosyncrasies and its catharsis actualized into a visual experience. As you get immersed into the contemplative journey to life, love, faith, hope and their in-betweens, more questions follow suit and without you knowing, you are entangled already in a web of philosophical thoughts that dare seek answers. Regardless of what form you watch “The Tree of Life” (whether the director’s cut or the theatrical cut), each viewing is a ride on its own.” – Engelbert Dela Cruz-Dulay, Film Police Reviews and Sine Dekalibre
“Favorite film of the decade? THE TREE OF LIFE, Dir. Terrence Malick.” – John Albert Villanueva, Film Enthusiast
UNDER THE SKIN (2014) by Jonathan Glazer
Jonathan Glazer’s “Under the Skin”. Photo courtesy of British Film Institute
“If there’s one film that truly defined this decade, it’s UNDER THE SKIN. From its underlying themes about alienation and its experimental exploration about the human condition’s needs and desires. An almost silent film that goes into our deepest emotions, capturing isolation and sexism. Glazer’s masterpiece blended sci-fi and horror and put an alien/human-like creature character to challenge us and uncover our shameful secrets that we hide or afraid to show and the outcome it can cause both good and bad. Under the Skin define, not only cinema as a powerful tool to interpret certain feelings, lingering thoughts and unanswered questions, but also what makes human “human.”Underneath its haunting and terrifying beauty lies the truth of what we appear inside and out.” – Dominic Francia, Film Enthusiast
WAR ROOM (2015) by Alex Kendrick
Alex Kendrick’s “War Room.” Photo courtesy of Affirm Films
“”War Room” (2015) is one of the best produced faith-based films. It is also the best Kendrick Brothers movie. While the film focuses on marriage, it didn’t veer away to it’s message that prayer is important in spiritual life. It’s a weapon for spiritual battle and warfare. Moreover, love and forgiveness are given much attention in details in this movie.” – Jim Paranal, Third World Cinema Club
Agree with some of the titles? For you, what was the film that defined the recent decade? Post your picks on the comments section below. Let’s discuss!