The Best 21st Century Asian Movies, According To The New York Times

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Ignacio Weil

Entertainment - July 4th 2025, 17:00 GMT+2

Cropped Memories of Murder — Memories of Murder (2003) – Bong Joon-ho (#99)

Before *Parasite* took the world by storm, Bong Joon-ho cemented his reputation with *Memories of Murder*, a chilling and deeply unsettling crime drama based on South Korea’s first serial killer case. Set in the 1980s, the film follows two detectives – played masterfully by Song Kang-ho and Kim Sang-kyung – whose clashing investigative styles reflect a society wrestling with disorder and repression. Bong’s direction veers seamlessly between dark humor, police procedural, and existential dread, making each scene feel layered and unpredictable. Unlike most thrillers, the film doesn’t deliver easy closure, opting instead for ambiguity that lingers long after the final shot. A foundational piece of modern Korean cinema, *Memories of Murder* is both a haunting mystery and a critique of systemic failure. | © CJ Entertainment

Cropped Past Lives — Past Lives (2023) – Celine Song (#86)

Though a Korean-American story, *Past Lives* resonates universally – and its inclusion on this list reflects the growing impact of transnational Asian narratives. Celine Song delicately captures the emotional weight of time, immigration, and love through the story of childhood friends Nora and Hae Sung. Greta Lee and Teo Yoo offer emotionally rich performances, portraying a connection that defies distance and language. The film’s deeply Korean sensibility – rooted in the concept of *inyeon*, or fate – grounds it in its cultural context while speaking to a broad, global audience. John Magaro adds nuance as Nora’s husband, caught between empathy and quiet jealousy. *Past Lives* is not just a romantic drama; it's a cross-cultural meditation on identity, belonging, and the choices we carry. | © A24

Cropped The Act of Killing — The Act of Killing (2012) – Joshua Oppenheimer (#82)

One of the most disturbing and original documentaries ever made, *The Act of Killing* confronts the horrors of Indonesia’s anti-communist purges through a surreal and ethically jarring lens. Directed by Joshua Oppenheimer, the film allows former death squad leaders – including Anwar Congo – to reenact their atrocities in the style of Hollywood genres they admire, from gangster flicks to musicals. What emerges is a film that challenges not only our understanding of history but the very nature of complicity, memory, and performance. Though controversial, it sparked national and international conversations about Indonesia’s dark past and was executive produced by Werner Herzog and Errol Morris. *The Act of Killing* is a masterclass in documentary filmmaking and a harrowing look at what happens when murderers write their own myths. | © Final Cut for Real

Cropped Oldboy — Oldboy (2003) – Park Chan-wook (#43)

Stylish, violent, and thematically daring, *Oldboy* redefined South Korean cinema on the global stage. Park Chan-wook’s neo-noir revenge thriller follows Oh Dae-su, played with astonishing range by Choi Min-sik, who is mysteriously imprisoned for 15 years and released with no explanation. What follows is a twisted journey through vengeance, guilt, and the dark recesses of the human psyche. With its unforgettable hallway fight sequence, shocking plot twists, and operatic visual flair, *Oldboy* became a cult sensation and inspired numerous adaptations, including a Hollywood remake. Park’s direction fuses emotional devastation with narrative bravado, crafting a film that is both gripping and thematically unsettling. It’s no exaggeration to call *Oldboy* one of the most influential Asian films of the 21st century. | © Show East

Cropped Yi Yi — Yi Yi (2000) – Edward Yang (#40)

Edward Yang’s *Yi Yi* is a quiet epic – a film that takes its time, yet says more about life, family, and modernity than most films ever attempt. Set in Taipei, it follows a middle-class family over the course of a year, observing each member’s joys, regrets, and personal reckonings. Yang’s direction is tender, almost invisible, letting the characters – including the unforgettable young Yang-Yang – unfold naturally. The film’s beauty lies in its detail: a funeral, a wedding, a first crush, a moment of introspection. Through these ordinary events, *Yi Yi* offers a profound portrait of life itself – its rhythms, disappointments, and quiet wonders. Celebrated for its universal humanity, it stands as one of the most emotionally resonant Asian films of our time. | © Atom Films

Cropped a separation — A Separation (2011) – Asghar Farhadi (#33)

Tension simmers beneath the surface in *A Separation*, a morally complex drama that begins with a couple seeking divorce and unfolds into a layered examination of class, religion, and truth in modern Iran. Directed by Asghar Farhadi, the film excels in presenting every character’s perspective with empathy, leaving viewers in a constant state of emotional and ethical uncertainty. Leila Hatami and Peyman Moaadi lead an exceptional cast, each performance grounded in the mundane yet charged with emotional stakes. Farhadi’s script doesn’t offer easy answers – instead, it draws out the messiness of real life in a way that few films dare to attempt. *A Separation* won the Academy Award for Best Foreign Language Film, becoming a landmark moment for Iranian cinema on the global stage. | © Dreamlab Films

Cropped Crouching Tiger Hidden Dragon — Crouching Tiger, Hidden Dragon (2000) – Ang Lee (#16)

Ang Lee’s *Crouching Tiger, Hidden Dragon* is as poetic as it is action-packed, redefining martial arts cinema for the 21st century. With breathtaking choreography and stunning cinematography, the film tells the story of forbidden love, honor, and destiny, carried by a legendary cast including Michelle Yeoh, Chow Yun-fat, and Zhang Ziyi. While the gravity-defying fight scenes are iconic, it’s the quiet emotional beats that elevate the film into something timeless. Lee fuses wuxia tradition with global storytelling, bringing Chinese cinema to the forefront of international attention. *Crouching Tiger* became a critical and commercial phenomenon, earning four Oscars and proving that genre films could also be deeply lyrical and sophisticated. | © Columbia Pictures Film Production Asia

Cropped Spirited Away — Spirited Away (2001) – Hayao Miyazaki (#9)

A masterpiece of animation and imagination, *Spirited Away* stands as Hayao Miyazaki’s most acclaimed film – and a towering achievement in global cinema. The story of young Chihiro’s journey into a spirit world populated by strange gods, witches, and talking creatures is as rich in wonder as it is in allegory. From the enigmatic No-Face to the towering bathhouse, every frame is infused with hand-drawn artistry and environmental wisdom. Miyazaki blends themes of identity, greed, and courage into a coming-of-age tale that feels both personal and universal. *Spirited Away* became the first anime film to win the Academy Award for Best Animated Feature, introducing Studio Ghibli to a worldwide audience and changing the landscape of animated storytelling forever. | © Studio Ghibli

Cropped in the mood for love 2000 — In the Mood for Love (2000) – Wong Kar-wai (#4)

Few films have captured longing with such sensual restraint as *In the Mood for Love*. Wong Kar-wai crafts a visually hypnotic and emotionally restrained love story between two neighbors – played with aching subtlety by Tony Leung and Maggie Cheung – who discover their spouses are having an affair. Rather than act on their growing feelings, they drift through a slow dance of missed connections, framed by lush cinematography, exquisite costumes, and a haunting score. Every moment in the film is meticulously composed, creating an atmosphere of quiet devastation and elegance. Wong’s elliptical storytelling and use of repetition turn time itself into a character, emphasizing what is unsaid and undone. *In the Mood for Love* is a cornerstone of 21st-century world cinema and a touchstone for romantic storytelling. | © Block 2 Pictures

Cropped Parasite — Parasite (2019) – Bong Joon-ho (#1)

It’s rare for a film to completely upend the global film conversation, but Bong Joon-ho’s *Parasite* did exactly that. Blending black comedy, social satire, and suspense, the story follows a poor South Korean family who gradually infiltrate the lives of a wealthy household – with consequences as unexpected as they are explosive. Featuring unforgettable performances from Song Kang-ho, Choi Woo-shik, Park So-dam, and Cho Yeo-jeong, the ensemble brings precision and nuance to every beat of Bong’s tightly constructed script. The film’s commentary on class disparity is both specific to Korea and instantly recognizable worldwide. *Parasite* made history as the first non-English-language film to win Best Picture at the Oscars, solidifying its place as a cultural landmark and a triumph of Asian cinema in the 21st century. | © CJ Entertainment

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Asian cinema has captured the world’s attention in the 21st century with its bold storytelling, rich cultural perspectives, and unforgettable visuals. From heart-wrenching dramas to genre-defying thrillers, filmmakers across Asia have consistently pushed the boundaries of modern cinema. Recognizing this global impact, The New York Times included several standout Asian films in its list of the best movies of the century so far. This article spotlights those titles – the most acclaimed Asian films of the 21st century, according to The New York Times – and explores why they continue to resonate with audiences around the world. Whether you're diving into Asian cinema for the first time or looking to expand your watchlist, these films are essential viewing.