It's crazy to think that Black Swan came out in 2010, because it's legendary and iconic in my booksas though it's been around for decades. I still think it's one of Natalie Portman's best performances to date. And I die for Winona Ryder's role as a jealous, jaded ballerina (performance of the decade). Christian Allaire, fashion and style writer

For sheer cinematic virtuosity, I don't think anything in the last ten years can touch Mad Max: Fury Road (2015)the ultimate embodiment of Hitchcock's sentiment that a movie should be intelligible to the audience with the sound turned off. There were times while watching it when I literally couldn't believe what I was seeing, such was the gleeful intensity of the spectacleand the fact that director George Miller didn't gather an armful of Oscars for this totemic achievement only shows the Academy's raging bias against genre films, even when masterfully executed. Corey Seymour, senior features editor

The Souvenir (2019), Joanna Hoggs ruminative and largely autobiographical fourth feature film, tells two distinct, but not unrelated stories. Ones about a young woman in a harrowing on-again, off-again relationship with a dashing heroin addict; the others about that same young woman, a film student, discovering her voice as an artista journey that I found so deeply and personally moving, I spent the 20-minute walk from the theatre to my apartment absolutely dizzy with emotion. This was, for me, a decade rich with discoveryI turned 16 in 2010and Hogg spoke to that weird/banal, exciting/scary experience of figuring out what matters to you (and what you deserve) with a quiet (but no less powerful) authority. Marley Marius, features assistant

The German movie Hell (2011). I just love the apocalypse.Liana Satenstein, senior fashion news writer

For me, almost nine years later, it's still Nicolas Winding Refns style-over-substance Los Angeles noir-romance Drive. Isnt Drive crazily, gratuitously violent? Isnt Ryan Gosling as a taciturn stunt driver-hero little more than an emo, alpha-male clich? Is Carey Mulligan the least convincing working-class-L.A.-mom-with-a-convict-husband youve ever seen? Am I still in love with her? And with this ludicrously cool one-last-job-gone-wrong neon-lit thriller? Yes, yes, yes. Taylor Antrim, executive editor

I'm cheating: I'm picking four. I know that's not the point, but there are a few vectors of the decade in film that felt significant to me. First of all, Melancholia (2011) reflects the only part of the coming apocalypse I can feel smug about: having known it was coming all along, and submitting wearily to its companions, hedonism and emptiness. Watching Kirsten Dunst clomp around in a wedding dress as everyone else pretends everything is normal is the only fitting parallel to the hectic nature of our current moment. Then, there's Magic Mike: XXL (2015); much has been made of the current lustful moment, when women are more vocal about desire than they ever have been, and I believe MMXXL was what flipped the switch and permitted us to reveal the lust-addled natures we've nursed all along. On a completely different note, To All the Boys I've Loved Before soothed my eternal teen soul perfectly; as we've inched towards chaos, we've reached for simpler, lovelier things, like romantic comedies and Noah Centineo. Finally, The Farewell honors the kind of modest, tortuous, but quotidian fables we tell just to get by, and it broke my heart. Oh, wait, one more: Call Me By Your Name. Do I dare to eat a peach? Estelle Tang, senior culture editor*

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Vogue Editors Pick Their Best Movies of the Decade - Vogue