Well, there's Wong Kar Wai's deliriously romantic IN THE MOOD FOR LOVE in 2000 (above), Todd Haynes' FAR FROM HEAVEN in 2002 with its wonderful recreation of 1950s Douglas Sirk melodramas, Ang Lee's BROKEBACK MOUNTAIN in 2005 and Malick's THE NEW WORLD, Paul Greengrass's compelling UNITED 93 in 2006, Quentin's INGLORIOUS BASTERDS in 2009, 2010's Apiachapong Weerasethakul's UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES, Haneke's AMOUR (which I have written about quite a bit here. French label) in 2012, Mike Leigh's ANOTHER YEAR also in 2010, 2009's I AM LOVE, and more recently THE GREAT BEAUTY, 12 YEARS A SLAVE, Marty's WOLF OF WALL STREET, plus DALLAS BUYERS CLUB and INSIDE LLEWYN DAVIS,
I must around to posting reviews of some of these, and there were also DRIVE and ONLY GOD FORGIVES, EASTERN PROMISES, Pedro's audacious THE SKIN I LIVE IN and BAD EDUCATION, Ozon's and Deneuve's delicious POTICHE, Oliver Stone's ambitious ALEXANDER, the screaming BEHIND THE CANDELABRA, the mesmerising BLUE IS THE WARMEST COLOUR and HBO's THE NORMAL HEART is that heartbreaking record of the '80s Aids era .... all of these and more are reviewed at the 2000s label. This season's feast of riches of course include the recently reviewed GRAND BUDAPEST HOTEL, IMITATION GAME, GONE GIRL and PADDINGTON! with lots more to see and review.
but what seems less important now?