february 1948

My Aunt Ruth won’t watch Hillbilly Elegy, the movie adaptation of J. D. Vance’s memoir about growing up in and eventually escaping Appalachia and a mother coping with addiction. Practically speaking, my aunt doesn’t have a Netflix account or any of the smart technology she’d need to stream it. But she also has no interest in watching a story of her community that doesn’t reflect what she sees and that she knows will be exploitative, harmful, and not helpful to moving her or her neighbors forward.

Hillbilly Elegy doesn’t show the positive side of Appalachia that my aunt and I know, because that wouldn’t serve the story’s purposes. The film and book need Appalachia to be poor, broken, and dirty, because they depend on us believing that the mountains are somewhere we want Vance to escape. They need to frame poverty as a moral failing of individuals—as opposed to systems—because they have to imply that something about Vance’s character allowed him to get away from his hillbilly roots. Hillbilly Elegy has to simplify the people and problems of Appalachia, because it has decided to tell the same old pull-yourself-up-by-your-bootstraps narrative that so many of us reject.

At the dawn of the 1960s, a couple of New York admen named Arthur Rankin Jr. and Jules Bass created the Christmas special. Before that, the networks hadn’t been sure exactly how they should entertain children during the holiday season. They had largely come down on the side of edification, as seen in NBC’s 1951 commission of a children’s opera, Amahl and the Night Visitors, broadcast live on Christmas Eve, after which the show lived on in reruns, and—also on NBC—Babes in Toyland, a turn-of-the-last-century operetta based on the Mother Goose tales.

But American children of the 1960s weren’t going to put up with operas and nursery rhymes. We had grown strong on orange juice, casseroles, and chewable vitamins. We weren’t afraid of polio or tuberculosis—we had the Salk vaccine and the tine test. We had had one small step for mankind, 31 flavors, and 101 dalmatians. The previous decade had already established the whims of children as a legitimate market force; in two years, Wham-O had made $45 million on the Hula-Hoop. Rich guys in office buildings were taking us seriously. What did we want next?

Two weeks ago, I staged a reluctant intervention via Instagram direct message. The subject was a longtime friend, Josh, who had been sharing photos of himself and his fiancé occasionally dining indoors at restaurants since New York City, where we both live, had reopened them in late September. At first, I hadn’t said anything. Preliminary research suggests that when people congregate indoors, an infected person is almost 20 times more likely to transmit the virus than if they were outside. But restaurants are open legally in New York, and I am not the COVID police. Josh and I had chatted several times in the early months of the pandemic about safety, and I felt sure that he was making an informed decision, even if it wasn’t the one I’d make.

Here is a remarkable, underappreciated fact: The U.S. economy has performed far better than that of many of the country’s peers during this horrible year. The International Monetary Fund expects the U.S. economy to contract by 4.4 percent in 2020, versus 5.3 percent in Japan, 6 percent in Germany, 7.1 percent in Canada, and nearly 10 percent in both the United Kingdom and France.

This fact is not a result of the United States managing its public-health response better than those countries, allowing it to reopen from lockdown sooner and for consumption to roar back. Indeed, many of those peer nations have had significantly better outcomes, as measured by COVID-19 caseloads, hospitalizations, and death rates. Nor is it a result of the U.S. preserving more jobs. The unemployment rate here is far higher here than it is in Japan, Germany, or the U.K.

The word unique has to be one of the most overused descriptors in show business; if every movie that got touted as one-of-a-kind by its marketing team actually was, there’d be no further complaints about Hollywood creativity. But every once in a while, I’ll have a cinematic experience that feels genuinely unprecedented, when a work plays with the medium and its modes of storytelling in ways I didn’t think possible. The 30 movies I’ve gathered below—all of which are available to watch online—are singular, whether they’re experimental documentaries, visionary works of animation, or labyrinthine epics. Each is unforgettable, and a reminder of cinema’s potential to flout narrative convention, subvert visual traditions, and find new ways to express timeless themes.