Top 10 Greatest Film Directors Working Today

Villeneuve turned Frank Herbert's "unfilmable" novel into one of the defining film events of the 2020s. Dune: Part Two earned $714 million and universal critical acclaim, proving that patient, intelligent sci-fi can compete with superhero spectacle. His visual language — vast compositions, deliberate pacing, IMAX-optimized cinematography — has influenced an entire generation of filmmakers. Whatever he directs next will be treated as a cultural event.

Parasite (2019) did what no film had done before: a non-English language film winning Best Picture at the Oscars. Bong's ability to blend genre — horror, comedy, social satire, thriller — in a single scene is unmatched. His follow-up Mickey 17 (with Robert Pattinson) continues his exploration of class warfare through sci-fi. Every Bong film feels like it was made by someone who has seen every movie ever made and decided to invent a new kind.

Gerwig directed Barbie to $1.4 billion worldwide — the highest-grossing film ever directed by a solo female director, by a factor of three. She took a toy brand IP and turned it into a genuinely subversive feminist comedy that also worked as mass entertainment. Her adaptation of Narnia for Netflix is one of the most anticipated literary adaptations in years. Gerwig has proven that populist entertainment and artistic vision are not opposites.

At 83, Scorsese is still making masterpieces. Killers of the Flower Moon (2023) was a searing 3.5-hour indictment of American greed and genocide that proved the old master has lost nothing. His passion for cinema preservation and his public advocacy for film as art (yes, including the Marvel comments) have made him the conscience of the industry. Six decades in, nobody shoots violence, guilt, and Catholic anxiety better.

Past Lives (2023) was one of the most acclaimed debut features in decades — a delicate, devastating film about missed connections and immigrant identity that earned Song an Oscar nomination for Best Picture and Best Original Screenplay. Her ability to make silence and longing cinematic, to find drama in what is not said, puts her in conversation with Wong Kar-wai and Richard Linklater. She is the most exciting new voice in American cinema.

Get Out (2017) invented a new horror subgenre — social thriller — and won Peele an Oscar for Best Original Screenplay. Us expanded his mythology, and Nope was his most ambitious visual spectacle. Peele has become horror's most important voice since Hitchcock, using genre to examine race, class, and the American experience with surgical precision. His production company, Monkeypaw, is also developing some of the most interesting genre projects in Hollywood.

The Korean maestro's Decision to Leave (2022) won him Best Director at Cannes and reminded the world that nobody constructs a thriller with more visual elegance. From Oldboy to The Handmaiden to his latest work, Park's films are operatic in their violence and achingly precise in their composition. His influence on global cinema — from Nicolas Winding Refn to David Fincher — is immeasurable. Every frame is a painting that might kill you.

Poor Things (2023) won Emma Stone her second Oscar and earned Lanthimos his widest audience yet. The Greek director's evolution from austere arthouse provocateur (Dogtooth, The Lobster) to lavish, darkly comic maximalist has been remarkable. His films are deeply strange, frequently uncomfortable, and utterly impossible to forget. Lanthimos makes you laugh at things you should not find funny, which is its own kind of genius.

The Boy and the Heron (2023) won the Oscar for Best Animated Feature and proved that at 85, Miyazaki remains animation's greatest living artist. His hand-drawn approach is a deliberate rejection of digital homogeneity, and his films' environmental and humanist themes feel more urgent than ever. Every Miyazaki "retirement" is followed by another masterpiece. Studio Ghibli's influence on global animation and storytelling is without parallel.

Villeneuve turned Frank Herbert's "unfilmable" novel into one of the defining film events of the 2020s. Dune: Part Two earned $714 million and universal critical acclaim, proving that patient, intelligent sci-fi can compete with superhero spectacle. His visual language — vast compositions, deliberate pacing, IMAX-optimized cinematography — has influenced an entire generation of filmmakers. Whatever he directs next will be treated as a cultural event.

Parasite (2019) did what no film had done before: a non-English language film winning Best Picture at the Oscars. Bong's ability to blend genre — horror, comedy, social satire, thriller — in a single scene is unmatched. His follow-up Mickey 17 (with Robert Pattinson) continues his exploration of class warfare through sci-fi. Every Bong film feels like it was made by someone who has seen every movie ever made and decided to invent a new kind.

Gerwig directed Barbie to $1.4 billion worldwide — the highest-grossing film ever directed by a solo female director, by a factor of three. She took a toy brand IP and turned it into a genuinely subversive feminist comedy that also worked as mass entertainment. Her adaptation of Narnia for Netflix is one of the most anticipated literary adaptations in years. Gerwig has proven that populist entertainment and artistic vision are not opposites.

At 83, Scorsese is still making masterpieces. Killers of the Flower Moon (2023) was a searing 3.5-hour indictment of American greed and genocide that proved the old master has lost nothing. His passion for cinema preservation and his public advocacy for film as art (yes, including the Marvel comments) have made him the conscience of the industry. Six decades in, nobody shoots violence, guilt, and Catholic anxiety better.

Past Lives (2023) was one of the most acclaimed debut features in decades — a delicate, devastating film about missed connections and immigrant identity that earned Song an Oscar nomination for Best Picture and Best Original Screenplay. Her ability to make silence and longing cinematic, to find drama in what is not said, puts her in conversation with Wong Kar-wai and Richard Linklater. She is the most exciting new voice in American cinema.

Get Out (2017) invented a new horror subgenre — social thriller — and won Peele an Oscar for Best Original Screenplay. Us expanded his mythology, and Nope was his most ambitious visual spectacle. Peele has become horror's most important voice since Hitchcock, using genre to examine race, class, and the American experience with surgical precision. His production company, Monkeypaw, is also developing some of the most interesting genre projects in Hollywood.

The Korean maestro's Decision to Leave (2022) won him Best Director at Cannes and reminded the world that nobody constructs a thriller with more visual elegance. From Oldboy to The Handmaiden to his latest work, Park's films are operatic in their violence and achingly precise in their composition. His influence on global cinema — from Nicolas Winding Refn to David Fincher — is immeasurable. Every frame is a painting that might kill you.

Poor Things (2023) won Emma Stone her second Oscar and earned Lanthimos his widest audience yet. The Greek director's evolution from austere arthouse provocateur (Dogtooth, The Lobster) to lavish, darkly comic maximalist has been remarkable. His films are deeply strange, frequently uncomfortable, and utterly impossible to forget. Lanthimos makes you laugh at things you should not find funny, which is its own kind of genius.

The Boy and the Heron (2023) won the Oscar for Best Animated Feature and proved that at 85, Miyazaki remains animation's greatest living artist. His hand-drawn approach is a deliberate rejection of digital homogeneity, and his films' environmental and humanist themes feel more urgent than ever. Every Miyazaki "retirement" is followed by another masterpiece. Studio Ghibli's influence on global animation and storytelling is without parallel.