Along with a devastating sound design and production design that orchestrates such palpable horror, “Son of Saul” is cinema at its most devastating, but also most compassionate. Up to its last frame, Nemes’ fantastic debut is a wayward journey guided by cryptic optimism, a story of intense horror that is also about the endurance of hope. (Nick Allen)

7. “Carol” (Todd Haynes)

Richly creamy and achingly romantic, “Carol” is yet another impeccable piece of filmmaking from the great Todd Haynes and an excellent companion piece to Haynes’ “Far From Heaven,” my pick for the best film of 2002. Both tell the story of women pursuing forbidden love in the 1950s and evoke that period in American history with vivid detail, both aesthetically and thematically. Everything about this movie is pristine in terms of its production values—the costumes, the art design, the lush cinematography from Edward Lachman and the melancholy score from Carter Burwell. But the love affair between Cate Blanchett and Rooney Mara gives “Carol” its sweetly beating heart. They share a lovely and substantial chemistry that leaves you with both a lingering wistful feeling and a tantalizing bit of uplift. Although the film is thoroughly convincing as it transports us to a time decades ago, the purity of the romance between Blanchett and Mara’s characters and the strength of their connection makes the film feel immediate, contemporary and relatable. Blanchett, ever the technical master, disappears into the glamorous longing of the wealthy but miserable housewife Carol. And Mara, by contrast, is all youthful instinct as Therese, the ingénue who blossoms as she realizes her true identity and desire. Sparks fly from the second they meet, despite the rather mundane setting of a department store during the Christmastime crunch. But Phyllis Nagy’s script, based on the Patricia Highsmith novel “The Price of Salt,” beautifully establishes the deep friendship that develops between the two women over a long time. And so when they finally do surrender to their yearnings, it feels not only earned but true. “Carol” is both an affirmation and a promise. (Christy Lemire)

6. “45 Years” (Andrew Haigh)

We like to think that we are in complete control of our destinies. We like to think we have carved the paths that have led us to the current phase of our existences. To a certain extent, of course, we have, but there are so many things that impact our lives that are not just out of our control but about which we may never know. Andrew Haigh’s devastating “45 Years” is about a woman who learns about one of those monumental turns of fate in her life decades after it happened. Kate (Charlotte Rampling) and Geoff Mercer (Tom Courtenay) are planning a party for their 45th anniversary. As often happens when major events are in motion, life throws them a curveball. Geoff gets a letter that the body of his ex-girlfriend, Katya, who went missing 50 years ago, has been discovered. It sends both Geoff and Kate into a melancholic tailspin. He seems distant, thinking about a life that might have been. She begins to wonder how much of her partnership was determined by the disappearance of another.

There are many notable elements of “45 Years,” including director Andrew Haigh’s subtle use of space and music, but it’s Charlotte Rampling’s performance that drives it home. What’s so remarkable about her work—my favorite performance of the year in any category—is its internal register. As Kate digs deeper into what Katya meant to Geoff, she realizes how much this woman that she never met and barely knew a thing about pushed her to where she is today. And Rampling turns inward. Look at her eyes in the mirror, try to read her thoughts in the devastating final scenes, realize that there’s nothing that this woman can say to change what happened 50 or 45 years ago. None of us can. (Brian Tallerico)