The nature, experiences, and allure of childhood have, for many decades, been one of the most pointed and powerful ideas cinema has explored. It is no surprise that many of the films that have explored youth the best exude an arresting sense of nostalgic yearning, hearkening to the ideal of childhood’s unburdened freedom to capture an air of wonder, possibility, and fun. However, many of the best movies to examine the theme also come with meditations on the loss of innocence, the pressures of family, and the numbing nature in which a child’s naivety clashes with the harshness of reality.

Ranging from underrated classics of the 21st century to iconic blockbusters of the 1980s, these tales of youth are the best depictions of childhood cinema has ever seen. Furthermore, with films from France, Japan, Ireland, Iran, and Sweden as well as America featuring prominently, this collection of movies also showcases the universality of the appeal of childhood as a time of excitement, wonder, and discovery.

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Marking one of the most iconic titles in Hollywood history, E.T. the Extra-Terrestrial shines not only as a stunning sci-fi blockbuster, but as one of the most mesmerizing and immersive portrayals of childhood to have ever graced mainstream cinema. Entwined in the magical tale of alien companionship and the efforts to elude government agents, it epitomizes the sheer wonder and adventure of youth with a magnetism that makes everyone who views it feel like a child again.

Steven Spielberg is obviously a master of conjuring such a sense of imaginative awe, but one thing he does brilliantly in E.T. is grounding the movie in moments of heartbreaking drama and, at times, even confronting terror. It captures the full array of experiences and emotions children go through, rather than just romanticizing feelings of glee and excitement. Further supported by the exquisite, characterful puppetry of E.T. and Spielberg’s use of perspective that plants the audience in young Elliott’s (Henry Thomas) view of the world, E.T. the Extra-Terrestrial is the finest display of childhood awe that blockbuster cinema has ever seen.

‘The Quiet Girl’ (2022)

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While it received widespread critical acclaim and even netted an Academy Award nomination, The Quiet Girl has gone largely unnoticed despite delivering a beautifully poignant exploration of childhood fragility. As one of many siblings living in an impoverished and bitterly dysfunctional household in rural Ireland, Cáit (Catherine Clinch) has grown withdrawn and reclusive. To unburden the stress her family is enduring as her mother manages another pregnancy, she is sent to live with aging distant relatives Eibhlín (Carrie Crowley) and Seán Kinsella (Andrew Bennett) on their farm, where she begins to blossom in their care.

Understated, restrained, and deftly delicate, The Quiet Girl uses its subdued realism to weave an emotionally enrapturing story of neglect, love, and discovery. It marks a masterful directorial debut from Colm Bairéad, who lingers on moments of nuance, connection, and secluded beauty with complete control, conjuring moving sequences where muted gestures and unspoken words become profoundly powerful. It is thematically confronting in how it explores turmoil and mistreatment through the eyes of a child, but it soars with its touching found-family dynamic that finds the warmth and love of childhood even within difficult circumstances.

‘Au revoir les enfants’ (1987)

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With its title translating to “Goodbye Children,” Au revoir les enfants is a somber and sobering descent into the fragility of childhood in the midst of sweeping turmoil and political tension. Set in a French boarding school during WWII, it follows the strained bond that develops between Julien (Gaspard Manesse) and Jean (Raphaël Fejtő), a socially awkward student new to the school who Julien discovers to be a Jew in hiding.

Rather than drifting on sentiment, Au revoir les enfants depicts boyhood in its reality, portraying the students as bawdy, mischievous, and cheekily troublesome youths striving to prove their masculinity to one another. The way director Louis Malle captures this gallivanting while still illustrating the innocence of the characters is astonishing, as is the devastating climax, which shows how innocence doesn’t fade gradually, but often shatters against accountability and brutality.

‘Boyhood’ (2014)

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A masterful encapsulation of childhood and coming-of-age that was ambitiously filmed over 12 years, following the same actors from grade school to young adulthood, Boyhood offers a fluid and grounded depiction of the life of a child. Told through a series of vignettes that capture family gatherings, road trips, birthday parties, and schooling milestones, it follows Mason’s (Ellar Coltrane) formative experiences as he and his sister grow up from being little kids to teenagers on the brink of college.

The stunning scope of the film, presented over the course of a 165-minute runtime, unfolds like a memory of childhood, a blurry yet beautiful procession of important moments that emphasize the quaint details of life. True to director Richard Linklater’s style, Boyhood is a feat of naturalism in cinema, an exploration of the highs and lows of an upbringing under divorced parents that wrestles with the flawed humanity of all its characters through a lens of arresting authenticity.

‘Fanny and Alexander’ (1982)

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Initially released as a five-hour miniseries by Swedish maestro Ingmar Bergman, Fanny and Alexander was trimmed down to a stunning three-hour realization of childhood that contrasts the wondrous freedom of youth against the intimidating vulnerability of helplessness in a world ruled by adults. Set in the early 20th century, it follows siblings Alexander (Bertil Guve) and Fanny Ekdahl (Pernilla Allwin) as they navigate the tumultuous shifts in their peaceful family life in the aftermath of their father’s death and their mother’s marriage to a strict bishop.

Bergman’s ability to explore dichotomy is on full display. The movie dissects both an adult’s vision of the world against a child’s and explores the stark difference between the warmth and tenderness of motherhood and the cold, masculine sterility of fatherhood. Further strengthened by its ability to weave together fantasy and reality, Fanny and Alexander is a masterclass in childhood wonder and a masterpiece of international cinema.

‘I Was Born, But…’ (1932)

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Through its reliance on visual storytelling, particularly in performance, silent comedy cinema often holds a striking sense of sincerity that is emotionally captivating. That is certainly the case with I Was Born, But…, an underrated masterpiece from Japanese filmmaking genius Yasujirō Ozu that unfolds as two young brothers move to Tokyo with their father when he is transferred. As they navigate issues of bullying and social cliques, they must also reckon with a soul-shattering reality when they discover their father, whom they idolize, is routinely ridiculed in his workplace.

Amongst their peers, the boys strive for masculinity. Acts of truancy and aspirations of strength display their desire for power in their naïve vision of the world. But their innocence is inescapable when they are exposed to the true callousness of the world through their father’s mistreatment and their complex feelings of shame, anger, and reluctant acceptance. The fact that the story transpires with such elegance and resonance despite not having dialogue is incredible, making I Was Born, But… a monumental achievement of cinema and a powerful exploration of childhood.

‘Children of Heaven’ (1997)

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While it has perhaps gone unnoticed by the masses, Iranian cinema has been a beacon of excellence in the form on the international stage for many years now. One of the country’s defining masterpieces is Children of Heaven, a poignant and ensnaring family picture of profound humanism. When Ali (Amir Farrokh Hashemian) loses his sister’s shoes while running errands, the two siblings concoct a scheme to keep the accident hidden from their parents. When it becomes increasingly difficult to keep the ruse going, Ali enters a running race to win new shoes.

Anchored by the captivating performances of the two young stars, Children of Heaven enthralls viewers in the adorable yet visceral stakes of the lost shoes, using the issue to explore childhood morality, sibling bonds, and the fine balance between innocence and accountability. Exuding an air of wonder, charm, and joyous adventure with sublime tenderness, the Iranian film is an emotionally gripping immersion into the ideals and troubles of childhood.

‘Stand By Me’ (1986)

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Directed by Rob Reiner and based on the Stephen King novella The Body, Stand by Me explores a fascinating stage of a child’s development, the fleeting moment on the cusp of adolescence as youthful curiosity clashes with teenage recklessness. Following four friends as they venture into the woods to see a dead body, its premise is laced with an interest in violence that so many young boys think makes them manly, but its execution is defined by the boys’ underlying innocence and their beautiful friendship.

Reiner’s direction makes the film a masterful immersion in the emotions of youth that is nostalgic and piercing without relying on sentiment. Its tragic finale, punctuated by the beautifully worded observation, “I never had any friends later on like the ones I had when I was twelve. Jesus, does anyone?” which embodies the perfection of Stand by Me and the precision with which it captures the essence of boyhood in all its bittersweet glory.

‘Cinema Paradiso’ (1988)

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An ode to cinema and the influences in childhood that shape our lives, Cinema Paradiso is a gorgeous and soulful drama of human connection, community, and the uniting force of art. After hearing about the death of the projectionist from his hometown, an Italian director reflects on his childhood and his formative relationship with Alfredo (Philippe Noiret), who cultivated his passion for cinema and helped him in his adolescence as he struggled with the agony of first love.

Complemented by Ennio Morricone’s beautiful score, Cinema Paradiso relishes the journey of life and the way the memories of youth, infused with an idealized air of mischief, magic, and wonder, last a lifetime. Its final act, following the director as he returns to his hometown to attend Guido’s funeral, becomes a bittersweet meditation on the fragility of childhood recollections against the brutality of the passage of time. Made truly unforgettable by its astonishing final moments that encapsulate the glory of cinema and memory, Cinema Paradiso is a heartwarming depiction of childhood at its most wondrous and pure.

‘The 400 Blows’ (1959)

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Authentic and compassionate in its examination of childhood innocence in the harshness of the real world, The 400 Blows is viewed by many as being the ultimate exploration of youth in cinema. Directed by French filmmaking legend François Truffaut, it follows young Antoine (Jean-Pierre Léaud), a neglected boy misunderstood by his parents and tormented by his teacher due to his rebellious behavior, as he abandons his schooling and embarks on a life of petty crime that leads him to a juvenile detention center.

Under Truffaut’s sympathetic lens, Antoine’s story isn’t presented as a nihilistic tragedy, but as a complex and sincere examination of troubled youth where reckless decisions and inevitable consequences are offset by beats of friendship, camaraderie, and innocent joy. The 400 Blows holds strong criticisms of the world, but it places them at the feet of adults rather than at the whims of a child’s struggles. In doing this, it balances misbehavior with vulnerability, and emerges as the most piercing, powerful, and essential depiction of childhood.

Scott Hoying and his husband, Mark Hoying, are celebrating the birth of their daughter via surrogate.

“SHE’S HERE! WE’RE DADS! 🥹 Our baby’s name is… 🩷,” the Pentatonix singer, 34, and Titanique producer, 35, captioned their joint Instagram post on Tuesday, June 23, revealing they decided on the name Birdie James after singing about the many monikers they considered.

“She was born on June 3 and was given a name that is near and dear to their hearts,” Scott told People. “The first song I ever learned to sing when I was a little, little kid was ‘Put On a Happy Face,’ from Bye Bye Birdie.”

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The performer also noted that Mark’s middle name is James, adding, “We wanted something that was musical, but not too on the nose. And we also just loved that it felt… Feels like it could work at any age.”

Scott and Mark said they are over the moon that their bundle of joy has arrived months after Scott’s sister Lauren volunteered to be their egg donor.

“I literally cannot believe how selfless she is. She was so passionate about doing it,” Scott gushed of his sister and about how he’ll be forever appreciative of her sacrifice. “I love my sister so much, and I cannot thank her enough for giving the gift of life.”

Scott reflected on his life journey, revealing that he feels blessed to have found love and now be able to embark on the new chapter of parenthood alongside Mark.

They previously released a gender reveal video in January, singing about what their child could be like in the future before confirming they were expecting a baby girl.

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Prior to welcoming a baby girl, the couple exchanged vows in July 2023 at the Ritz-Carlton Bacara in Santa Barbara, California. Their ceremony took place more than one year after Scott proposed in the Bahamas in April 2022.

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“It really was beautiful. It was this overwhelming flashback of all these memories growing up and being like, ‘Am I going to find love? Is gay marriage going to be legal? Am I going to be able to have a kid?’” Scott shared of his journey to parenthood, revealing, “The process of us having a child took four or five years.”

Scott said he was overcome with emotions while meeting their daughter, admitting, “It’s been a long time coming and just looking at her, I started crying because it was just such a beautiful thing that I feel really, really lucky.”

If awards dictate what is actually the best in any art form, then the best show on TV is HBO Max‘s The Pitt. It won three Emmy Awards in its first season, including for Outstanding Drama Series, and is a major frontrunner for more recognition after a compelling Season 2. After the first season culminated in Dr. Michael “Robby” Robinavitch (Noah Wyle) breaking down, the show’s return took it a step further, as Dr. Robby grappled with suicidal ideation. Thankfully, Season 2 culminated on a note of hope for The Pitt‘s lead character.

However, Season 2 also had its share of tragedy, most prominently with the heartbreaking loss of ER regular Louie Cloverfield (Ernest Harden Jr.). Just as devastating was the death of patient Roxie Hamler in the last hours of her cancer journey — and now, the actor behind that incredible performance is taking things into her own hands for potential Emmy consideration.

Brittany Allen’s Roxie Hamler Is the Standout of ‘The Pitt’ Season 2

At its core, The Pitt is about treating patients. With so many characters coming and going from the ER, very few remain the focus for long. Some, however, do make a tremendous impact, like Season 2’s Roxie Hamler (Brittany Allen). Viewers first meet her when she’s brought into the Pitt after a seizure at home that causes her to fall and injure her leg. Normally, this would be treatable, but Roxie’s body is severely weakened by advanced lung cancer.

Roxie’s introduction is accompanied by the uncomfortable realization that she may never leave the hospital, despite the optimism of her husband, Paul (Taylor Handley). With her pain only increasing by the hour, Roxie requests that her ER stay be extended. Instead of The Pitt spending only one episode with her, she becomes a recurring character as her condition worsens, with Dr. Cassie McKay (Fiona Dourif) a constant presence by her bedside.

Before the end of Season 2, Roxie is gone, but her death happens quite unexpectedly. Given the amount of pain her patient is in, McKay goes to Robby, who agrees to let her order more morphine. Both he and McKay know that administering a higher dose could kill Roxie, but for Robby, the potential legal consequences outweigh the benefits of palliative care, which can often mean allowing someone to die with dignity. When Roxie does ultimately pass, her death happens offscreen; neither the audience nor Cassie is present to witness the moment. All that’s left is to mourn the loss.

Brittany Allen Deserves an Emmy for ‘The Pitt’ Season 2

Instead of portraying Roxie as overly emotional or hysterical, Allen delivers a performance rooted in quiet strength and acceptance. Despite resigning herself to her circumstances, Roxie is visibly concerned about how her family will cope with losing her. She doesn’t want to miss out on more life with them, but accepts that she will. It’s a real and raw portrayal that manages to be equally gut-wrenching — and certainly deserves Emmy attention.

While HBO didn’t submit Allen for Emmy consideration, the actress decided to take things into her own hands by running her own FYC campaign. To be nominated for an Emmy for Outstanding Supporting Actress in a Drama, Allen would’ve needed to appear in the majority of The Pitt Season 2, but her six-episode arc enabled her eligibility for the Outstanding Guest Actress in a Drama Series category, per her interview with Variety:

“When I saw that they just had her pass away off camera, first of all, I thought that was a beautiful decision creatively. And then it opened the door for me to be eligible, which was, oh my God, exciting.”

This isn’t the first time Allen has submitted herself for television awards recognition; in 2011, she campaigned for her performance on All My Children for the Daytime Emmy category of Outstanding Younger Actress in a Drama Series — and won! The Pitt is all but confirmed to be a major awards contender after Season 2, and will likely earn nominations in many of the same Emmy categories as last year. Yet if Allen’s self-submission proves anything, it’s that her unforgettable performance as Roxie Hamler deserves to be given the same consideration as previous winners like Wyle and LaNasa.

“Hacks” star Robby Hoffman is finally coming clean about her ugly Emmys exit.

The comedian admitted she stormed out of last year’s ceremony after losing to her own co-star, and the full story is even messier than fans realized.

“Hacks” star Robby Hoffman has built her career on brutal honesty, and this confession proved no exception. Her account of the night reads like one of her own stand-up bits.

Hoffman wasted no time getting into it on her appearance on “Drag Race” star Trixie Mattel’s podcast, “Bald and the Beautiful.” She revealed she and her sister had walked into the venue fully convinced the trophy was already theirs. In her words, “I was there with my sister, and I was the biggest sore loser.”

Her sister’s reaction when they lost was even more decisive — she grabbed Hoffman by the arm and pulled her straight toward the exit. The comedian recalled being so blindsided she didn’t even clock that her competition included Olivia Colman and Zoë Kravitz. She said:

“We’re beyond surprised to lose. I walk in, I’m already like, ‘Where am I going to put the Emmy?’ We lose immediately, my sister goes, ‘We don’t need this sh-t,’ and pushes me out. She grabs me by the arm. ‘We’re leaving this sh-t.’”

The ‘Hacks’ Role That Was Written With Her In Mind

Collider sat down with Hoffman ahead of “Hacks” Season 5 to talk about her role as Randi, the offbeat assistant to Jimmy and Kayla at the talent agency. She revealed the character was actually written specifically for her.

Still, she had to audition, a detail she found both fair and slightly amusing. “They’re like, well, we do know Robby… can she do it?” she joked. She credits her early career writing on the children’s PBS series “Odd Squad” as the foundation for everything she does on screen now.

“Odd Squad” was my film school,” she told Collider. Hoffman won a Daytime Emmy in 2019 for her writing on that very show, making her an Emmy winner long before “Hacks” ever came along.

Robby Hoffman’s Vegas Wedding Caused Just As Much Of A Stir

Hoffman’s Emmy night drama was not her first time getting attention for something out of the ordinary. Back in March 2025, she and “Bachelorette” alum Gabby Windey were married in Las Vegas without anyone knowing, as reported by The Blast.

The couple started dating in the summer of 2023, and they eloped on January 11, 2025, in the middle of the Los Angeles wildfire evacuations. Unable to find a place to live in the city, they drove to Vegas, and they stayed in what Windey said was a “penthouse suite that was like a wedding suite.

“Gabby turned to me, and she went, ‘Should we get married?’” Hoffman recalled. She joked that she had been proposing to Windey since the day they met, and when the moment finally felt right, Windey said yes.

The Comedian’s Wife Opened Up About Taking Control Of Her Own Story

Windey walked down the aisle to Chappell Roan’s “Hot To Go,” kicking off the 20-minute ceremony with a fun dance break. She wore a high-neck lace gown, while the pair exchanged vows in front of what they described as “a disengaged minister in red sneakers.”

Though they had initially planned to show up at a chapel simply, Windey wanted a real proposal first. Hoffman delivered by crafting it through their favorite New York Times Games, one of the most charming low-key proposals fans had ever heard of.

Celebrity friends flooded the comments when the couple went public. “Bachelorette” alum Wells Adams wrote “Omg!!!! Congratulations Gabs!!!!” while “Selling Sunset” star Chrishell Stause called it the biggest news of her day.

Another ‘Hacks’ Star Took Home The Bigger Prize That Emmy Night

While Hoffman left the Creative Arts Emmys empty-handed, “Hacks” didn’t go home without hardware. PEOPLE confirmed that Jean Smart won Outstanding Lead Actress in a Comedy Series at the Primetime Emmy Awards, picking up her fourth win in the category for her role as Deborah Vance.

Smart took the stage on a broken knee, quipping that if she was walking like John Wayne, that was the reason. She thanked her castmates, her crew, and her children before adding, “One of the best things about winning something like this is you get to thank the people you work with publicly.”

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For the comedian, watching her show sweep at the top level likely softened the sting at least a little. With all the drama, can Robby Hoffman channel all that Emmy night energy into a winning performance that finally brings home the trophy next time around?

Jennifer Aniston’s reflections on her past relationships and career moments have raised eyebrows.

According to a new report, the actress’s comments about ex-husband Brad Pitt may have caused tension in her relationship with Jim Curtis.

Jennifer Aniston discussed Pitt and other “Friends” guest stars during a recent interview, but sources claim Curtis feels uneasy about her revisiting that chapter of her life.

Jennifer Aniston’s Reflections On Brad Pitt Reportedly Cause Strain In Relationship With Jim Curtis

Aniston’s recent comments about ex-husband Brad Pitt may have seemed harmless to fans, but reports suggest they have sparked some tension in her current relationship with boyfriend Jim Curtis.

The actress briefly reflected on her “Friends” years during a conversation with former co-star Lisa Kudrow, recalling several high-profile guest stars who appeared on the sitcom. Among the names she mentioned was Pitt, who made a memorable appearance in a 2001 Thanksgiving episode.

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Speaking during Variety’s “Actors on Actors series,” Aniston praised the celebrity guests who joined the show, noting how surprising it was that many of them arrived feeling nervous despite their fame. She specifically recalled Pitt alongside stars such as Bruce Willis, Julia Roberts, and Isabella Rossellini.

According to a publication, a source revealed that Aniston viewed her comments as a sign of personal growth and emotional maturity, believing she has reached a point where she can look back on her past marriage without resentment.

“It’s been a surprising source of tension because Jen sees it as healthy and mature, while Jim thinks some relationships are better left in the past,” the insider told Closer Online. “He insists he’s not jealous but, let’s face it, if anyone could make a man jealous it would be Brad Pitt.”

Jim Curtis ‘Struggles To Understand’ Why The Actress Wants To Stay Friends With Her Ex After Their Split Caused Her ‘Pain’

Aniston and Pitt ended their marriage in 2005 after nearly five years together, but have remained cordial in the years since. Today, Pitt is in a relationship with Ines de Ramon, while Aniston recently celebrated her first anniversary with Curtis.

The insider added that although Curtis is generally supportive and secure in their relationship, he “knows firsthand how much pain Jen went through because of that relationship, and he struggles to understand why she’d want to keep the door open to any sort of friendship.”

Aniston, however, has previously spoken openly about moving beyond that chapter of her life. In an interview with Vanity Fair last year, she described the breakup as a particularly vulnerable period made even more difficult by the intense media attention surrounding it.

She recalled how “jarring” the experience felt and suggested the story was dramatic enough to fill a memoir.

The “Murder Mystery” actress also criticized the celebrity coverage of that era, saying it often felt more “like a form of a sport,” than journalism, and admitting that “there’s obviously some PTSD we all have, which is why [interviews] scare me.”

Jennifer Aniston Reflects On Divorce, Calls Marriages ‘Successful’ Despite Breakups

Aniston’s ability to remain on good terms with her former partners extends beyond Pitt.

Earlier this year, fans noticed that the “Morning Show” actress liked an Instagram post announcing that ex-husband Justin Theroux and his wife, Nicole Brydon Bloom, had welcomed their first child, a gesture many interpreted as a sign of continued goodwill.

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Despite two highly publicized divorces, Aniston has consistently rejected the idea that her marriages were failures.

In a 2018 interview with Elle, she described both relationships as “very successful,” explaining that they ended because the people involved ultimately “chose to be happy, and sometimes happiness didn’t exist within that arrangement anymore.”

She added, “Sure, there were bumps, and not every moment felt fantastic, obviously, but at the end of it, this is our one life, and I would not stay in a situation out of fear. Fear of being alone. Fear of not being able to survive.”

The Actress Is Very ‘Grateful’ For Her Life With Jim Curtis

Despite Curtis’ concern for Aniston and her remarks about Pitt, the couple is said to be in a very happy place in their relationship.

An insider shared with People Magazine that the actress is experiencing the kind of love she has always longed for with the hypnotist.

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“It’s a great partnership and makes Jen very happy,” a source told People Magazine, before calling Curtis a “special guy. Everyone loves his energy.”

“They both have a lot going on professionally but make time for each other during the week whenever they can,” the insider further noted.

“Jen’s very grateful for her life, and Jim came into it at a really good time,” they added. “Their initial friendship made their relationship feel much more genuine from the start.”

Jennifer Aniston Pays Emotional Tribute To ‘Friends’ Director James Burrows After His Death At 85

More recently, Aniston reflected on another important relationship in her life after the death of legendary television director James Burrows at age 85.

Paying tribute on Instagram, the actress described Burrows as far more than a director, calling him a father figure who played a major role in shaping both her career and personal life. She recalled how he affectionately referred to the “Friends” cast as his “kids” and said he was always there to offer encouragement, guidance, and support through both difficult and joyful moments.

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“He was a father figure to me,” she wrote. “He always checked in on me. He worried about me, celebrated me, taught me, guided me, and held me through the hardest times and the best of times. He spoiled us rotten,” she wrote.

Aniston also credited Burrows with fostering the close-knit bond that developed among the “Friends” cast, teaching them the importance of loyalty, respect, and always looking out for one another both on-screen and behind the scenes.

It’s already a point of interest to look back on an individual year’s film offerings in a modern context to see which films have maintained their qualities or grown more well-crafted in the years since, yet even by most standards, 2021 was an unusual year for cinema history. The world was still massively recovering from the pandemic, which was largely felt in the slow release of major studio films as well as in releasing films in theaters and for premium digital rental or on streaming at the same time.

However, even if the actual release structure of the films was strange, the inherent quality was certainly there for the year’s best films. The year saw the release of iconic blockbusters, memorable indie films, and everything in between that helped bring a sense of normalcy back to filmmaking after the even more chaotic year of 2020. This makes returning to the 2021 films 5 years later that much more interesting, as the very best have maintained their qualities beyond the wild times of pandemic-era thinking.

10

‘The Tragedy of Macbeth’

Image via Apple TV+

The Tragedy of Macbeth is one of the most striking and clear-cut collaborations of sheer talent from just about everyone involved in terms of bringing to life this Shakespearean classic to the modern age. Through the directorial vision of Joel Coen, exceptional performances from Denzel Washington and Frances McDormand, and amazing cinematography from Bruno Delbonnel, the film truly comes to life as a work of art. What’s rather sad is that the film’s legacy and staying power have felt limited in the years since its release, as it was originally made for Apple TV+.

However, the quality is certainly there to revel in and be inspired by, with beautiful black-and-white visuals complementing the powerful performances and classic storytelling at its center. Joel Coen still hasn’t had another feature-length directorial work since the release of this film. Yet, he’s already proven his directorial strengths this decade with this masterclass of Shakespearean brilliance.

9

‘Judas and the Black Messiah’

Image via Warner Bros.

Judas and the Black Messiah operates in a wholly individual spot as far as award-contending dramas, making use of the extension given to 2020s slate of films during the pandemic to release and compete alongside 2020 films like Nomadland and Mank despite releasing in February 2021. This makes the film often forgotten in the pantheon of 2021 as a year in film history, which is a shame considering just how striking and emotionally powerful this story of real-life revolution and heartbreak truly is.

The film truly comes into its own thanks to a masterful central performance from Daniel Kaluuya as the late Fred Hampton, building up his truly electrifying presence as a public speaker and a true visionary that people would latch onto and see hope for the future in. It makes the impending fall and betrayal of the story all the more painful, knowing that such strong will and battle for rights will be snuffed out by higher powers before it even has a chance to flourish and make a change.

8

‘The Green Knight’

Image via A24

There have been a multitude of fantasy films that have either directly adapted or found great inspiration from the Arthurian tales of the past, yet The Green Knight stands out as one of the most beautiful and original takes on this all-time classic material. David Lowery’s distinct vision of pain, perseverance, and growth told through the story of Sir Gawain arguably makes it one of the all-time greatest adaptations of Arthurian tales to film to date.

It’s a ruthlessly intense fantasy film that is quick to delve into the sheer darkness and psychological gravitas of Gawain’s journey, made all the more impactful by a striking lead performance by Dev Patel. The film truly goes all out in terms of bringing to life a sprawling, multi-layered adventure not just for Gawain to experience, but for the audience to witness and share every step of the way. Time has only been kind to this fantasy masterclass, as more and more people have grown to appreciate its brilliance.

7

‘Pig’

Image via Neon

To an unfamiliar person, the plot and synopsis of Pig make it seem like little more than an overly nonsensical action thriller that feels ripped out of Nicolas Cage’s previous era, à la Bangkok Dangerous or Face/Off. However, Pig couldn’t be more different tonally than a goofy action movie, as this story of a lonesome man traveling into the city to retrieve his lost pig is one of the most emotionally touching and beautiful experiences that 2021 cinema has to offer.

There is a real sense of earnestness and raw vulnerability to the execution of Pig that makes it stand out that much more as an emotionally moving piece of art. Cage easily gives what is his best performance not just of the 2020s so far, but what was his best performance in decades through this film, with such deep range and emotional depth to his character amplifying an already powerful script into icon status.

6

‘Dune’

Image via Warner Bros.

It simply wouldn’t be right to not include at least one of the prominent blockbusters that released in 2021, seeing as they helped revitalize enthusiasm for blockbuster filmmaking after a year of abandonment during the pandemic. While films like Spider-Man: No Way Home and No Time to Die might have made more money, there’s no question that Dune is the absolute highlight of blockbuster filmmaking for the year in terms of quality as well as cultural impact and legacy.

This extravagant high-budget space opera achieves the previously thought to be impossible in doing great justice and significance to one of the all-time greatest sci-fi novels ever written. Denis Villeneuve’s meticulous filmmaking style exudes prowess and craft in every moment of the film, creating a true sci-fi epic experience that makes the most of the budget and delivers on spectacle in spades. While some have written off the original film following the improvements made to the sequel, there is still an undeniable magic that makes the first part of Dune such an icon.

5

‘Titane’

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The only Palme d’Or winner of this decade to not be nominated for an Academy Award, Titane is a strange, ruthlessly bleak and abstract piece of body horror that, between the ruthless carnage and uncomfortable concepts, tells a surprisingly beautiful story of found family and unconditional love. It’s an incredibly difficult balancing act that is pulled off without a hitch, as the moments of horror and shock hit that much harder when the in-between is this story of tense secrecy that leads to familial love despite it all.

Simply describing the insanity of the story doesn’t do the film justice, as it bounces between sickening and chaotic concepts that all build on top of one another until they spiral uncontrollably into complete chaos. However, the bedrock cushioning of love that these characters have built for one another makes the release of tension somewhat beautiful, fully living up to the brilliance and strengths of the body horror genre.

4

‘West Side Story’

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The lead-up to the release of Steven Spielberg‘s modern-day remake of the Best Picture-winning musical classic West Side Story certainly had hype, but many were skeptical of the film’s ability to live up to the stature of the original, especially when Spielberg’s last film was the dismal Ready Player One. However, not only did Spielberg far exceed the expectations for this remake, but he proves to be so great at directing musicals that it feels like he’s been doing it his entire career instead of this being his only musical to date.

The film has a perfect balance of tones and styles, knowing when to be high-energy and full of life during the upbeat songs and knowing when to slow down and let the emotions of the song and performances whisk away the audience during moments of bliss and heartbreak. West Side Story, even despite a nonexistent box-office run where it got wiped off the map by Spider-Man, has a sustained and effective legacy thanks to its overwhelming strengths, being an important mark on Spielberg’s modern career outings.

3

‘Licorice Pizza’

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While Paul Thomas Anderson‘s legacy of 2020s filmmaking will undoubtedly be defined by his monumental achievements in One Battle After Another, that doesn’t take away from the sweet melancholy charm that he exudes in his prior film, Licorice Pizza. This charming story of young love is chock-full of a lot of the distinct human elements and offbeat comedy that made films like Punch-Drunk Love and Magnolia such major hits in Anderson’s catalog.

The film makes perfect use of its central breakout performance from Alana Haim and Cooper Hoffman, tapping into an infectious mixture of whimsy and innocence towards the world that makes their complicated story of love that much more compelling, even with all its flaws. It’s hard to truly get a sense as to how the film’s legacy will grow, considering every other Anderson film is a near-masterpiece, yet the greatness inherent to Licorice Pizza still shouldn’t be ignored or looked past.

2

‘Mass’

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While Mass may have been massively overlooked by the various awards bodies when it came to the 2021 awards season, it nevertheless stands as one of the most emotionally heartwrenching masterpiece dramas of the 2020s so far. This underrated gem follows a duo of parents who are connected by their late sons having lost their lives in a school shooting, with one being the shooter and one being a victim. After having had to live with the pain and anger for so long, they take the opportunity to meet for a painful and raw conversation in the basement of a church.

Mass brilliantly cuts right to the heart of the indescribable pain that comes from losing a child, with each character in the film having their own approach to grief and remembrance for what has occurred. The way that the film balances these different perspectives and keeps an exceptionally realistic vision throughout makes it an absolute tour de force in terms of performance art and emotional complexity.

1

‘The Worst Person in the World’

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Especially in an era directly following Parasite‘s massive Academy Awards sweep, the unilateral trend that has defined 2020s film culture over previous decades is a much greater acceptance towards international film and experimental voices as a whole. The Worst Person in the World proves to be one of the best examples of such a compelling foreign language work, with the abstract Norwegian rom-com being a near-perfect exploration of the difficulties and uneasiness of young adulthood.

It would be one thing if the film simply delivered on great performances and complex, layered characters to create and emotionally rich experience, which the film certainly achieves, yet it’s all in the abstract execution that makes the film such a joy to experience again and again. From its exceptionally paced chapter structure to a wide array of compelling cinematography and abstract sequences, the film is far from a traditional romance story in its visual style, a perfect fit considering that its characters prove to be far from typical rom-com archetypes.

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The Worst Person in the World

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Release Date

October 13, 2021

Runtime

127 minutes

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Director

Joachim Trier

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Writers

Joachim Trier, Eskil Vogt

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• 
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  Anders Danielson Lie

  Julie

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By Chris Snellgrove
| Published 11 seconds ago

Under the leadership of David Zaslav, Warner Bros. has made quite a few moves that have annoyed various groups. For example, many superhero fans were annoyed when he shuttered Batgirl (a completed film) for a tax write-off, and others were annoyed when he pulled the plug on both the Arrowverse and the DCEU. Film buffs (including Steven Spielberg) hated it when he started laying people off at Turner Classic Movies. Meanwhile, general audiences were annoyed by strange moves like rebranding (and then re-rebranding) the HBO Max subscription service. However, nobody hates what Warner Bros. has done the past few years more than animation fans.

The studio killed the highly anticipated Scoob! Holiday Haunt movie while purging dozens of beloved cartoon shows (including classics from Cartoon Network, DC Animation, and the golden age of Looney Tunes). The studio tried to kill movies like The Day the Earth Blew Up and Coyote vs. Acme; they only relented amid fan outcry, and those movies ended up with an indie distributor. For these reasons and more, Warner Bros. has become enemy number one for cartoon lovers, but the studio is trying to change that. At the recent Annecy Animation Film Festival, WB announced several killer projects sure to please animation fans of all ages.

It’s All About Batman

Long before David Zaslav started killing WB’s reputation, the studio became known for its awesome, direct-to-video DC animated movies. That trend isn’t going away anytime soon, and WB is taking some big, nostalgic swings aimed square at ‘80s and ‘90s kids. At the Annecy Animation Film Festival, they are giving audiences their first real look at Batman: Knightfall, which adapts the comic story in which Bane breaks Batman’s back. This R-rated movie is the first of a multipart film series that will chronicle Bruce Wayne’s recovery, his successor’s problematic time as Batman, and Bruce eventually reclaiming the mantle of the Bat.

If that’s not enough bat-action, then you’re in luck. At the film festival, WB also debuted footage of Dynamic Duo, a movie that centers around two Robins (Dick Grayson and Jason Todd) and how their lives were changed forever by Batman. The movie is being made with Swaybox’s pioneering “Momo animation” style, and those who have seen footage of the film favorably compare it to Spider-Man: Into the Spider-Verse. While we’ll have to wait over two years to see the film, Dynamic Duo will be getting a theatrical release, highlighting WB’s newfound confidence in their animated projects.

All the Nostalgia, All The Time

There’s nothing as potent as nostalgia, which is why studios rely so heavily on sequels, prequels, and reboots. Warner Bros. is no exception, and many of the animated projects they announced or showed off at Annecy are designed to bring beloved old IPs back. This includes Oh, The Places You’ll Go!, a Dr. Seuss adaptation featuring Josh Gad and Ariana Grande. WB is also making a Hello Kitty movie for audiences who need a little more cuteness in their lives. If you prefer slapstick or action, though, the studio has you covered: they are also working on projects involving Tom & Jerry as well as Thundercats, which is now on its fourth reboot.

Speaking of stuff that just keeps getting rebooted, one of the most shocking announcements from Warner Bros. is that they are making a new Powerpuff Girls movie. Or at least, trying to: officially, they are still negotiating the rights, but that didn’t keep the studio from teasing Annecy audiences about their plans to make a new film. Previously, the original show got a weird anime adaptation, an aggressively polarizing reboot in 2016, and nearly got a live-action TV show. Like Thundercats, this will be the fourth attempt to bring Powerpuff Girls back, so let’s hope the gals stick the superhero landing.

A New Chapter?

At the Annecy Animation Film Festival, all of these announcements came courtesy of Warner Bros. Pictures Animation President and Chief Creative Officer Bill Damaschke. The general consensus among attendees is that the man talks a good game, and he did an excellent job of portraying everyone at the studio as ready and willing to fully throw themselves back into the world of theatrical and streaming-first animation.

However, cynics who feel burned by previous WB decisions have largely adopted a “wait and see” approach here. These announcements all sound great, but all of those aforementioned canceled and otherwise abandoned projects all started out as breathless announcements. The real litmus test will be whether or not all of these projects ever see the light of day or if they get shuttered in the relentless pursuit of another tax write-off. Only then will we know if the WB is ready to stop being the greatest supervillain the animation world has ever known. 

Jack White is now one of the most famous guitarists of all time, but at one point, his personal life was very much part of his act.

In 1997, Jack (born John Anthony Gillis) cofounded rock duo The White Stripes with his then-wife, Meg White. Earlier in their career, however, the pair claimed they were brother and sister. Even after proof of their marriage — and 2000 divorce — emerged, Jack continued to say they were related.

He eventually explained that he thought a sibling relationship would keep the focus on their music rather than any romantic connection between them.

“When you see a band that is two pieces, husband and wife, boyfriend and girlfriend, you think. ‘Oh, I see … ’ When they’re brother and sister, you go, ‘Oh, that’s interesting,’” he told Rolling Stone in 2005. “You care more about the music, not the relationship.”

Related: Band Members Who Have Dated Each Other: Paramore, Fleetwood Mac and More

MFleetwood Mac is perhaps the most famous example of bandmates dating each other — and the ensuing complications that come with it. “I broke up with Lindsey [Buckingham] in 1976. We’d only been in Fleetwood Mac for a year and a half, and we were breaking up when we joined Fleetwood Mac,” Stevie Nicks recalled […]

After The White Stripes rose to fame, Jack was linked to actress Renée Zellweger. He also married two more times — to Karen Elson, from 2005 to 2001, and to Olivia Jean, whom he wed in 2022. Jack and Jean split in June 2026 after the Black Belles singer filed for divorce, citing “inappropriate marital conduct.”

Keep scrolling to see Jack’s dating history through the years:

Meg White

Jack met his first wife, Meg, while he was still in high school in Detroit, Michigan. They tied the knot on September 21, 1996, and went on to form The White Stripes the following year. As the band became prominent, they told the press they were siblings, and Jack introduced Meg as his “big sister” on stage.

Jack and Meg divorced in 2000 but continued recording and performing as The White Stripes for several more years. They released their sixth and final album, Icky Thump, in 2007 and played their final concert that same year before officially announcing their breakup in 2011. The band was inducted into the Rock & Roll Hall of Fame in 2025 by Iggy Pop, but Meg did not attend the ceremony.

In 2014, Jack told Rolling Stone he “almost never” talked to Meg anymore but later apologized for claiming in the same interview that she wasn’t supportive. When she turned 50 in December 2024, Jack shared his well-wishes via Instagram, writing, “HAPPY 50TH BIRTHDAY to my big sister, the great Meg White. There’s only one of you Meggo, they broke the mold. You’re still inspiring people, including me. Love you so much.”

Renee Zellweger

When The White Stripes were at the height of their fame, Jack began dating Zellweger after they met on the set of 2003’s Cold Mountain. Zellweger starred as Ruby Thewes, later winning an Oscar for Best Supporting Actress, while Jack had a minor role as a character named Georgia and contributed several songs to the soundtrack.

The duo dated for a year and a half before calling it quits in September 2004.

Karen Elson

Following his split from Zellweger, Jack moved on with British supermodel Elson after meeting on the set of The White Stripes’ music video for “Blue Orchid” in 2005. They tied the knot just one month later in a ceremony held in a canoe on the Amazon River and officiated by a shaman. Meg served as the maid of honor.

Following their wedding, Elson and Jack welcomed two children: daughter Scarlett, born in 2006, and son Henry, born in 2007.

In 2010, Elson released her debut album, The Ghost Who Walks, which Jack produced and released on his Third Man label.

The following year, the duo announced their split in a release and said they were throwing a “divorce party” to celebrate, describing it as “an evening together in Nashville to reaffirm our friendship and celebrate the past and future with close friends and family.”

In 2013, Elson was granted a temporary restraining order against Jack, accusing him of harassment and “bullying” as they battled over custody of their children. Jack denied her accusations in his own court filing, which read, “Mr. White does not want to be portrayed as something he is not, violent toward his wife and children.” The pair finalized their divorce later that year.

In October 2025, Elson and Jack teamed up for a TikTok video with Scarlett as she walked the runway for Paris Fashion Week.

Olivia Jean

Jack met his third wife, Jean, in 2009 after she left her demo CD at a concert by his band The Dead Weather. After he asked her to come to Nashville to record, she formed a band called The Black Belles, and the group released their self-titled debut album in 2011.

The Black Belles split the following year, but Jean went on to release a solo album in 2014. Around that time, Jean’s relationship with Jack turned romantic.

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On April 8, 2022, Jack proposed on stage during a concert at Detroit’s Masonic Temple Theatre as Jean duetted with him on The White Stripes’ “Hotel Yorba.” During the show’s encore, the pair tied the knot, with Jack’s Third Man cofounder, Ben Swank, officiating.

Us confirmed in June 2026 that Jean filed for divorce from Jack after four years of marriage. Jean claimed in court docs obtained by Us that Jack was “guilty of inappropriate marital conduct, which makes further cohabitation unsafe and improper.”

Jean requested spousal support, claiming that she depends on her estranged husband’s income to pay for her bills. She also requested the court mandate she be added to his life insurance.