Between streaming services and superhero blockbusters, the way we watch and think about movies has changed dramatically over the past 25 years. But through that period of upheaval, which films have truly stood the test of time?

To find out, we embarked on an ambitious new project, polling more than 500 filmmakers, stars and influential film fans to vote for the 10 best movies (however they chose to define that) released since Jan. 1, 2000. In collaboration with The Upshot, we compiled their responses to create a list of the 100 best movies of the 21st century.

Voters included Oscar-winning directors like Pedro Almodóvar, Sofia Coppola, Barry Jenkins and Guillermo del Toro as well as acclaimed actors like Chiwetel Ejiofor, Mikey Madison, John Turturro and Julianne Moore.

25. ‘Phantom Thread’

Paul Thomas Anderson, 2017. Don’t you dare call Anderson’s delectable 1950s fashion drama “chic.” Couturier Reynolds Woodcock, played by Daniel Day-Lewis, would have your head. This film is sumptuous and subversive, recounting the love story between Reynolds and his unruly muse, Alma (Vicky Krieps). He is prickly and easily perturbed; she delights in getting under his skin. It’s the tale of a man meeting his match. Eat up, you hungry boys.

24. ‘Her’

Spike Jonze, 2013. Eschewing the hard, gleaming surfaces of most speculative sci-fi for something more off-kilter, Jonze’s digital romance follows a lonely introvert (Joaquin Phoenix) in near-future Los Angeles as he falls head-over-code for an adaptive operating system voiced by Scarlett Johansson. Is it real machine love or just a grown man’s pathological avoidance of intimacy? The many questions it raises, alas, feel a lot less theoretical today than they did in 2013.

23. ‘Boyhood’

Richard Linklater, 2014. An audacious concept — the movie was shot, in start-and-stop fashion, over more than a decade — meets a winningly low-key execution in Linklater’s acute, unhurried portrait of a small-town Texas kid (Ellar Coltrane) navigating his parents’ divorce, first crushes and other travails and triumphs of adolescence. The result is a coming-of-age drama of uncommon loveliness, both piercing and sweet.

22. ‘The Grand Budapest Hotel’

Wes Anderson, 2014. Anderson’s candy-colored visions can be deceptive. The magnificent inn of the title is a glorious pink confection, but there are real stakes at play: Fascism is fast approaching, and refugees have good reason to fear the authorities at the borders of a fictional European country. This between-the-wars tale of a beloved concierge (a terrific Ralph Fiennes) is in the end deeply moving.

21. ‘The Royal Tenenbaums’

Wes Anderson, 2001. Before his name became a byword for a distinctive and much-imitated aesthetic, Anderson was also just a really good storyteller. His exploration of one eccentric New York family contains no shortage of Wes-lian signatures: deadpan line deliveries, dreamy Pantone palettes, first-rate needle drops. But it’s also a deeply felt and often very funny portrait of an emotionally distant patriarch (Gene Hackman) and his messy, overachieving offspring.

20. ‘The Wolf of Wall Street’

Martin Scorsese, 2013. More than a century after the days of “Gangs of New York,” Scorsese finds more lower Manhattan bros behaving badly. Playing stock trader Jordan Belfort (whose memoir the movie is based on), Leonardo DiCaprio has rarely been funnier on screen. There’s inevitably a downfall, but if it seems as if Belfort gets off pretty easy — well, doesn’t that sound like Wall Street?

19. ‘Zodiac’

David Fincher, 2007. This drama functions as an examination of obsession. The titular serial killer is obsessive in the creation of a persona. The bureaucracy-hindered cops (Mark Ruffalo and Anthony Edwards) obsessively chase leads, while newspaper journalists, including Robert Downey Jr.’s boozy beat reporter, do the same. That you feel satisfied by the time the credits roll speaks to Fincher’s obsessive attention to detail.

18. ‘Y Tu Mamá También’

Alfonso Cuarón, 2002. Cuarón’s bildungsroman has much on its mind — lust, class, male friendship, mortality, but mainly lust. Sex is all that high schoolers Tenoch (Diego Luna) and Julio (Gael García Bernal) seem to live for. Cuarón shoots sex the way his characters feel it: hot, all-consuming, the weight of the world just off-camera. Like youth itself, we stumble out of the film blinking, disoriented, sifting through memories.

17. ‘Brokeback Mountain’

Ang Lee, 2005. “The gay cowboy movie” did more than start water-cooler conversations and win several Oscars. Lee’s austere Western turned a clandestine romance between two Wyoming ranch hands (Heath Ledger and Jake Gyllenhaal) into one of cinema’s great tragic love stories, as aesthetically beautiful as it was emotionally shattering.

16. ‘Crouching Tiger, Hidden Dragon’

Ang Lee, 2000. When Lee debuted this wuxia masterpiece starring Michelle Yeoh, Chow Yun-fat and Zhang Ziyi, the film appealed to Western and Eastern audiences alike, a rarity at the time, and demolished box-office records. This action drama marries acrobatic, aerodynamic martial arts with repressed love and forbidden futures.

15. ‘City of God’

Fernando Meirelles, 2003. A teenager forces a younger teenager to kill an even younger child. The victim cowers inside a fenced patio that resembles a playpen. Nearby sobs another child; he’s been shot in the foot — to send a message, but also for fun. That a film can contain this scene and make you feel anything but sick is a testament to its narrative complexity, dazzling visual style and charismatic cast.

14. ‘Inglourious Basterds’

Quentin Tarantino, 2009. Tarantino’s World War II tale is epic but intimate: Life and death turn on a hand gesture, a dessert topping, a bad accent (not whatever Tennessee accent Brad Pitt is using — that one’s hilarious). Christoph Waltz stands out in a stacked ensemble cast and won the best supporting actor Oscar. But after a conflagration of revisionist history has burned this movie to the ground, Pitt gets the last word, and it’s hard not to hear it in Tarantino’s voice: “I think this just might be my masterpiece.”

13. ‘Children of Men’

Alfonso Cuarón, 2006

While the near future is bleak in Cuarón’s sci-fi drama, almost every scene is a stunner. Women have become infertile, and hope for the human race is all but gone, but in a locked-down Britain hostile to refugees, a bureaucrat (Clive Owen) finds himself in a position to protect a newcomer (Clare-Hope Ashitey), the only pregnant woman in the world.

12. ‘The Zone of Interest’

Jonathan Glazer, 2023. Glazer’s Holocaust narrative defies convention. Using the bones of Martin Amis’ novel of the same name, Glazer focuses on the day-to-day life of the commandant of Auschwitz, Rudolf Höss (Christian Friedel), and his wife, Hedwig (Sandra Hüller), who reside next door. They garden to the soundtrack of mass murder as the ash of human bodies falls from the sky. It’s a disorienting watch that shows just how easy it is to live with monstrosity.

11. ‘Mad Max: Fury Road’

George Miller, 2015. The fourth installment in Miller’s postapocalyptic series finds the world still thirsting for water and Max (Tom Hardy) riding shotgun with Furiosa (Charlize Theron), a one-armed, truck-driving revolutionary. Miller’s kinetic, lunatic hallucination leaves you slack-jawed because of both its outrageous visuals and depth of feeling. Come for the guy playing a flame-throwing guitar while tied to a moving semi, stay for the requiem for a world that looks eerily, devastatingly like our own.

10. ‘The Social Network’

David Fincher, 2010. Less a biography than an evisceration, Fincher’s hypnotically unflattering, often funny origin story about Mark Zuckerberg (Jesse Eisenberg) and the creation of Facebook opens with a man and woman breaking up. By movie’s end, the man is the world’s loneliest billionaire, compulsively clicking refresh on his Facebook page. Given how social media has radically reshaped the world, the film now seems almost quaint — and not nearly cruel enough.

9. ‘Spirited Away’

Hayao Miyazaki, 2002. Miyazaki’s hand-drawn fairy tale of adolescence is the “Alice in Wonderland” of our age. Unforgettable characters keep spilling out of an abandoned magical bathhouse — the boilerman and his soot sprites, the masked spirit No-Face, Haku the boy-dragon and, navigating it all, brave Chihiro, whose clueless parents have been turned into pigs by a witch. “Spirited Away” is a spellbinding adventure with few peers in animation or elsewhere.

8. ‘Get Out’

Jordan Peele, 2017. When Chris (Daniel Kaluuya) visits his white girlfriend’s parents, it’s obvious that something is off. Her mother is weirdly watchful, her father embarrassingly obsequious. Chris soon discovers that the family and their friends are modern-day slavers transplanting white brains into Black bodies. With mordant wit, great timing and superb control, Peele marshals genre conventions for a movie that’s at once an electrifying thriller about the horrors of white supremacy and an unsparing sendup of a post-racial America.

7. ‘Eternal Sunshine of the Spotless Mind’

Michel Gondry, 2004. Directed by Gondry from a screenplay by Charlie Kaufman, this dream ventures far beyond its rom-com center. Kate Winslet and Jim Carrey play a broken-up couple who opt to get memories of their relationship erased. The movie — equal parts playful and gutting — emphasizes how strongly such memories shape us.

6. ‘No Country for Old Men’

Ethan Coen and Joel Coen, 2007. “What’s the most you ever lost on a coin toss?” menacing hit man Anton Chigurh (Javier Bardem) asks a gas station owner, who didn’t realize he was going to gamble with death that day. Chigurh verges on superhuman as he stalks through this neo-Western thriller that the Coen brothers adapted from Cormac McCarthy’s novel about violence and fate. As one character puts it, “You can’t stop what’s comin’.”

5. ‘Moonlight’

Barry Jenkins, 2016. The weight of this delicate drama doesn’t hit until the end, but when the finale arrives, it is staggering. Jenkins expertly takes us through the life of one Black gay man, played at different ages by Alex Hibbert, Ashton Sanders and Trevante Rhodes. “Moonlight” is about everything it takes to make you who you are. And ultimately it’s about feeling like an outcast, but patiently, quietly finding your way home.

4. ‘In the Mood for Love’

Wong Kar-wai, 2001. Soon after a journalist (Tony Leung) and a secretary (Maggie Cheung), both married to other people, move into the same crowded Hong Kong building in 1962, they brush past each other in mesmerizing slow motion. Sparks don’t fly; they smolder. They keep on burning in Wong’s rapturously beautiful, elegiac romance, in which he inscribes desire in every glance and unspoken word.

3. ‘There Will Be Blood’

Paul Thomas Anderson, 2007. Anderson’s masterpiece about blood and oil, men and their gods, opens in the late 19th century with an American prospector, Daniel Plainview (Daniel Day-Lewis), alone in a deep pit hacking at the earth. He continues gouging and pummeling (the earth, other people) to become an oil baron who ravages everything and everyone. Anderson’s filmmaking can make you gasp and so can the environmental and spiritual devastations that haunt this deeply American tragedy.

2. ‘Mulholland Drive’

David Lynch, 2001. Lynch’s perverse fairy tale tracks the downward spiral of a bright-eyed young actress, Betty — a revelatory Naomi Watts in a career-defining performance — who stumbles into a dangerous, labyrinthine mystery shortly after arriving in Los Angeles. Filled with doubles, this is one of Lynch’s bleakest and most terrifying films, and among his most emotionally devastating. It’s also one of the great movies about Hollywood.

1. ‘Parasite’

Bong Joon Ho, 2019. A tale of haves and have-nots, and a ferocious rebuke to the devastations of neoliberalism, Bong’s pleasurably kinked and unsettling shocker follows a destitute family as it insinuates itself into a wealthy household. Bong, a master of genre unbound by convention, fluidly shifts between broad comedy and blistering social satire throughout, then lights it all on fire with a paroxysm of tragic violence that’s as stunning as it is inevitable. By the time the movie closed in the U.S., Bong had a fistful of Oscars, including best picture, and the world had a new superstar.

THE REST

100. ‘Superbad’ (Greg Mottola, 2007)

99. ‘Memories of Murder’ (Bong Joon Ho, 2005)

98. ‘Grizzly Man’ (Werner Herzog, 2005)

97. ‘Gravity’ (Alfonso Cuarón, 2013)

96. ‘Black Panther’ (Ryan Coogler, 2018)

95. ‘The Worst Person in the World’ (Joachim Trier, 2021)

94. ‘Minority Report’ (Steven Spielberg, 2002)

93. ‘Michael Clayton’ (Tony Gilroy, 2007)

92. ‘Gladiator’ (Ridley Scott, 2000)

91. ‘Fish Tank’ (Andrea Arnold, 2010)

90. ‘Frances Ha’ (Noah Baumbach, 2013)

89. ‘Interstellar’ (Christopher Nolan, 2014)

88. ‘The Gleaners & I’ (Agnès Varda, 2001)

87. ‘The Lord of the Rings: The Fellowship of the Ring’ (Peter Jackson, 2001)

86. ‘Past Lives’ (Celine Song, 2023)

85. ‘Anchorman: The Legend of Ron Burgundy’ (Adam McKay, 2004)

84. ‘Melancholia’ (Lars von Trier, 2011)

83. ‘Inside Llewyn Davis’ (Ethan Coen and Joel Coen, 2013)

82. ‘The Act of Killing’ (Joshua Oppenheimer and Anonymous, 2013)

81. ‘Black Swan’ (Darren Aronofsky, 2010)

80. ‘Volver’ (Pedro Almodóvar, 2006)

79. ‘The Tree of Life’ (Terrence Malick, 2011)

78. ‘Aftersun’ (Charlotte Wells, 2022)

77. ‘Everything Everywhere All at Once’ (Daniel Kwan and Daniel Scheinert, 2022)

76. ‘O Brother, Where Art Thou?’ (Ethan Coen and Joel Coen, 2000)

75. ‘Amour’ (Michael Haneke, 2012)

74. ‘The Florida Project’ (Sean Baker, 2017)

73. ‘Ratatouille’ (Brad Bird, 2007)

72. ‘Carol’ (Todd Haynes, 2015)

71. ‘Ocean’s Eleven’ (Steven Soderbergh, 2001)

70. ‘Let the Right One In’ (Tomas Alfredson, 2008)

69. ‘Under the Skin’ (Jonathan Glazer, 2014)

68. ‘The Hurt Locker’ (Kathryn Bigelow, 2009)

67. ‘Tár’ (Todd Field, 2022)

66. ‘Spotlight’ (Tom McCarthy, 2015)

65. ‘Oppenheimer’ (Christopher Nolan, 2023)

64. ‘Gone Girl’ (David Fincher, 2014)

63. ‘Little Miss Sunshine’ (Jonathan Dayton and Valerie Faris, 2006)

62. ‘Memento’ (Christopher Nolan, 2001)

61. ‘Kill Bill: Vol. 1’ (Quentin Tarantino, 2003)

60. ‘Whiplash’ (Damien Chazelle, 2014)

59. ‘Toni Erdmann’ (Maren Ade, 2016)

58. ‘Uncut Gems’ (Benny Safdie and Josh Safdie, 2019)

57. ‘Best in Show’ (Christopher Guest, 2000)

56. ‘Punch-Drunk Love’ (Paul Thomas Anderson, 2002)

55. ‘Inception’ (Christopher Nolan, 2010)

54. ‘Pan’s Labyrinth’ (Guillermo del Toro, 2006)

53. ‘Borat” (Larry Charles, 2006)

52. ‘The Favourite’ (Yorgos Lanthimos, 2018)

51. ‘12 Years a Slave’ (Steve McQueen, 2013)

50. ‘Up’ (Pete Docter, 2009)

49. ‘Before Sunset’ (Richard Linklater, 2004)

48. ‘The Lives of Others’ (Florian Henckel von Donnersmarck, 2007)

47. ‘Almost Famous’ (Cameron Crowe, 2000)

46. ‘Roma’ (Alfonso Cuarón, 2018)

45. ‘Moneyball’ (Bennett Miller, 2011)

44. ‘Once Upon a Time ... in Hollywood’ (Quentin Tarantino, 2019)

43. ‘Oldboy’ (Park Chan-wook, 2005)

42. ‘The Master’ (Paul Thomas Anderson, 2012)

41. ‘Amélie’ (Jean-Pierre Jeunet, 2001)

40. ‘Yi Yi’ (Edward Yang, 2000)

39. ‘Lady Bird’ (Greta Gerwig, 2017)

38. ‘Portrait of a Lady on Fire’ (Céline Sciamma, 2019)

37. ‘Call Me by Your Name’ (Luca Guadagnino, 2017)

36. ‘A Serious Man’ (Ethan Coen and Joel Coen, 2009)

35. ‘A Prophet’ (Jacques Audiard, 2010)

34. ‘Wall-E’ (Andrew Stanton, 2008)

33. ‘A Separation’ (Asghar Farhadi, 2011)

32. ‘Bridesmaids’ (Paul Feig, 2011)

31. ‘The Departed’ (Martin Scorsese, 2006)

30. ‘Lost in Translation’ (Sofia Coppola, 2003)

29. ‘Arrival’ (Denis Villeneuve, 2016)

28. ‘The Dark Knight’ (Christopher Nolan, 2008)

27. ‘Adaptation’ (Spike Jonze, 2002)

26. ‘Anatomy of a Fall’ (Justine Triet, 2023)