The 60 Best Asian Films of the Decade (2011-2020)

49. 0,5 mm (Momoko Ando, 2014, Japan)

Adapted from her own book, Momoko Ando's “0.5mm” is a quirky road movie following Sawa (Sakura Ando, Momoko's sister), a multilayered mysterious young woman with a talent for caring and tending old people. In the episodic narration she deceptively sneaks into the lives of several old men and in exchange she sparks joy into their lives. We know nothing about her, bar she lost her uterus to an illness, and yet she is the quintessential motherly spirit, not only to the old fellas but also to the young woman she meets in the utterly satisfying full-circle open ending. She could also be the conscience of the old generation of Japan, a generation plagued with guilt and regret for the atrocities of war. Or couldn't she? 3 hours and 16 minutes of pure cinematic joy. (Adriana Rosati)

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48. R100 (Hitoshi Matsumoto, 2013, Japan)

“R100” is a movie experience that goes into the absurd, has fun breaking the fourth wall of cinema and is actually, even though sometimes pretty messed up, an interesting and enjoyable ride. That is if you can get passed a certain few pretty shocking scenes. Crazy and daring, sexy and the absolute opposite; Matsumoto's new high (or probably to some, new low) in making films. I'm curious what his next move will be, cause it can't get any crazier than this, right? (Thor)

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47. The Truth Beneath (Lee Kyoung-mi, 2016, S. Korea)

“The element that makes the film unique though, is its narrative, with Lee Kyoung-mi using a rather intricate approach to the story, which seems to follow the mentality of Yeon-hong, who manages to lose her mind while standing extremely focused to her purpose. This tactic gives a disorienting sense to the production, which benefits the story to the fullest, as the audience can actually feel and think exactly as Yeon-hong does, in a reality that borders on nightmare. In that fashion, Park Go-ji's editing is masterful, managing to retain this sense with continuous elaborate cuts, among the flashbacks that permeate the narrative. Ju Sung-lim's cinematography accompanies the above elements perfectly, with some impressive framing and coloring that highlight the sense Lee Kyoung-mi wanted to give to each scene… Lee Kyoung-mi managed to accomplish a very difficult task, to present a different take on the crime thriller genre, and in the process, to create a masterpiece of the genre.” (Panos Kotzathanasis)

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46. Lowlife Love (Eiji Uchida, 2015, Japan)

“Lowlife Love” is a film about the making of films, about dreams and ambitions as well as what happens if this passion is put to the test of reality. Featuring strong performances, especially Kiyoshi Shibukawa in the lead, and a dry sense of humour in its script, “Lowlife Love” manages to hit the right tone when it comes to portraying an industry whose reality often challenges the dreams of some many of us. (Rouven Linnarz)

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45. One Cut of the Dead (Shinichiro Ueda, 2017, Japan)

Frankly, this is an exceptionally enjoyable effort that finally offers a unique take on the zombie genre, which comes from plenty of strong characters and witty situations. This is definitely worthwhile for those that are trying for something new in the genre or can appreciate bizarre zombie comedies such as these, while others that don't even agree on that should heed caution with the film. (Don Anelli)

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44. Satan's Slaves (Joko Anwar, 2017, Indonesia)

There really isn't much to dislike with this one. The main factor holding it down is an overly complicated story that has too many unsolved questions. This one offers no reason for who the evil spirit resembling the mother was or why it was in the house anyway, what the zombies want from the family or the actual plan of the cult was at the end when it seemed everything was already in order. Since the zombies' purpose was already achieved by having the last child of the Satan's slave woman be on their side, this confusion does tend to slightly lower the film although it's nowhere near that big a detriment. The rest of the film manages to hold up so well that there are so few issues here that this ranks as one of the finest entries in the genre not just for the country but overall. (Don Anelli)

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43. House of Hummingbird (Kim Bo-ra, 2018, S. Korea)

Kim Bo-ra has created Eun-hee, a 90's Korean girl, to channel the angst that all adolescents experience; the fear of facing an Ocean on a tiny raft. In a poignant scene near the end, the three siblings at dusk watch the collapsed Seongsu Bridge, showing their emotions unashamedly. They are three little sprouts, overwhelmed by the tragedies that life can throw at you, and yet destined to process it and move on. (Adriana Rosati)

42. Miss Zombie (Sabu, 2013, Japan)

Sabu's film differentiates from the plethora of films in the genre, because he presents an everyday life that simply includes zombies, instead of the usual attack to humans. The tension is built slowly but steadily, with the events becoming worse and worse, initially on Shara and then to Shizuko. At the same time, the sense that something very bad is bound to happen permeates the film, inducing it with an atmosphere of a thriller. This sense is one of the movie's best attributes…“Miss Zombie” is a great testament to Sabu's versatility and manages to present a new perspective to a rather preterit genre. (Panos Kotzathanasis)

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41. Mr Long (Sabu, 2017, Japan)

“Mr Long” is an interesting development for SABU, an extension of the themes of his work, specifically the role of spirituality in today's life, coincidence and the dichotomy of activity and passivity. With its cast led by Chen Chang, its storytelling and its cinematography, the movie may be a more conventional movie for its director, but also one with a more humane take on its characters. Rules or conventions may be prison bars for some, but they are also meant to enable some of the most precious human qualities we can think of. Again, it is always easy to use the knife to destroy, but it requires patience and understanding to use it correctly. (Rouven Linnarz)

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40. Helter Skelter (Mika Ninagawa, 2012, Japan)

The director, Mika Ninagawa presents us with another visual object of virtu, six years after her last movie, Sakuran. Chiefly a photographer, Ninagawa gives great attention to the cinematography, costumes and the overall design of the movie, bathing it in vivid colors and extreme images. Helter Skelter though, is so much more than an optical extravaganza… “Helter Skelter” is one of the best films of 2012, a true masterpiece of the grotesque. (Panos Kotzathanasis)

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