The past 10 years have been filled with some incredible moments for women working behind-the-camera in Hollywood. From Kathryn Bigelow -- who became the first (and, unfortunately, only) woman to win an Academy Award for Best Director for The Hurt Locker -- to Patty Jenkins -- who was the first woman to helm a superhero film from a major studio, Wonder Woman -- there were some monumental accomplishments worth celebrating. Unfortunately, Hollywood still has a long way to go before it can even scratch the surface of equality in the industry.

Although small steps are being taken to fill the gap, statistics show that Hollywood is still falling behind when it comes to gender parity. According to a report from The Celluloid Ceiling, in 2018 only 8% of directors on the years top 250 domestic films were made by women. This was a dip from the year prior where female filmmakers made up 11% of the top 250 films. Thankfully, 2019 saw that percent tick upwards between major studio films and independent films, with the latter taking the greatest leaps towards equal representation in the industry via film festivals. Sundance, SXSW, Tribeca, and even the Toronto International Film Festival boasted lineups that had a record number of female directors. Tribeca even reached gender parity in their competition lineup this year for the very first time and Sundance had a record-setting 46% of female-directed films in competition.

There are also a number of initiatives being created to help achieve gender equality. For example, ReFrame Rise, which is organized by Women in Film and the Sundance Institute, pairs eight female directors with A-list producers and executives in Hollywood who help them find job opportunities, refine pitches, and sharpen business practices. There’s also the 4% Challenge, a campaign launched by the USC Annenberg Inclusion Initiative and Time’s Up, that aims to increase the number of women, especially women of color, directing studio films.

But, it’s not just Hollywood that needs to make big changes, audiences also play their part in evolving the industry. In an interview with Variety, Lulu Wang (The Farewell) exclaimed that, “box office is proving that telling stories from different perspectives is what the audience wants [...] Audiences are demanding different stories from different perspectives — and that is driving part of the change.” All of these accomplishments and steps, as small as some may seem, are showing that there is indeed a shift happening in Hollywood. The desired end result may still be a way off, but it’s worth honoring the moments and accomplishments that continue to propel us forward. So, with the end of the decade dawning on us, we wanted to celebrate some of the greatest projects from women in film. In no particular order, here are 20 of the best female-directed films from the past 10 years.

'Zero Dark Thirty' (Kathryn Bigelow, 2012)

Following her Oscar win for The Hurt Locker, Bigelow returned to form in spectacular fashion with Zero Dark Thirty, a film that chronicled the decade-long hunt to find Osama bin Laden following the 9/11 attacks, led with a ferocious performance by Jessica Chastain as a CIA analyst named Maya. What makes this film so interesting, though, is that Bigelow tells it in a very matter-of-fact fashion. The story, in a way, allows the viewer to step into Maya’s shoes and experience the chaotic ups-and-downs that she does while tracking down bin Laden. Even by the end, once he’s killed, Maya appears almost expressionless, giving the viewer an opportunity to make of the story what they want to.

As expected, the film did go on to receive multiple Oscar nominations, including Best Picture, Best Actress in a Leading Role, Best Original Screenplay, Best Achievement in Film Editing, and won for Best Achievement in Sound Editing. Bigelow knows how to tell a story, especially an important one that truly defined a decade, through a necessary lens. It’s a rare gift for filmmakers to have, and her numerous accolades are proof she’s an impeccable talent.

'You Were Never Really Here' (Lynne Ramsay, 2017)

Lynne Ramsay’s 2017 drama was one of the best of the year. It was truly shocking it didn’t receive any Oscar nominations, especially for Joaquin Phoenix’s performance. The film centers on a veteran named Joe (Phoenix) plagued with Post-Traumatic Stress Disorder who spends his time tracking down missing girls. But, one job involving a high-end New York City prostitution ring is the one that causes him to unravel, for better or worse.

The beauty of You Were Never Really Here is how Ramsay flips the brutal and violent content that’s often normalized in the thriller genre on its head. Ramsay’s directorial choices force the viewer to observe Joe’s violence in a way that most movies like these don’t always do with their protagonist -- a character study of his actions. The lens approaches the story from a psychological viewpoint -- a decision that sets this film apart from those similar to it. That’s one of the many reasons why Ramsay is such a phenomenal director, she’s unafraid to flip the script and boldly go forward with what she believes is best.

'Selma' (Ava DuVernay, 2014)

Telling Martin Luther King, Jr.’s story is one that needed to be done right, and who better to tackle it than Ava DuVernay. Selma is a necessary story, and remains relevant now than ever, that was told through a compassionate lens. Led with a captivating performance from David Oyelowo as King, Jr., the film follows his campaign to secure equal voting rights in 1965 via the march from Selma to Montgomery, Alabama.

DuVernay is one of the greatest directors working today for a number of reasons. She’s a passionate storyteller that knows how to tell an effective story properly and with the utmost transparency. Every project that she works on -- from the compelling series Queen Sugar to the powerful Netflix mini-series When They See Us -- carries a message of importance and urgency that radiates off the screen. Selma was one of those projects, and its numerous nominations and wins during award season in 2015 are proof of how affecting it was, and still is today.

'Winter’s Bone' (Debra Granik, 2010)

Before Jennifer Lawrence took the world by storm as Katniss Everdeen in The Hunger Games franchise, her true breakout role was in Debra Granik’s 2010 noir, Winter’s Bone. Portraying a young woman named Ree Dolly, the story follows Ree as she attempts to track down her drug-dealing father in the Ozark mountains of Montana.

As dreary and dismal as this world appears, there are small glimmers of hope that shine through its story. Granik’s specialty is truly finding the light in the darkest of places. Ree is a survivor that proves time and time again that she’s completely willing and able to stand her ground, and Lawrence’s performance is as unforgettable and captivating as the character she played. The film went on to score four Oscar nominations, including Best Adapted Screenplay, Best Performance by an Actor and Actress, along with Best Picture. Not only that, but this film solidified Granik as an exceptional talent behind-the-camera.

'Hustlers' (Lorene Scafaria, 2019)

Based on the juicy New York Magazine article The Hustlers at Scores by Jessica Pressler, Hustlers follows a group of strippers as they turn the tables on their frequent Wall Street clientele following the financial crisis of 2008. Not only is the story riveting and entertaining, but its led by some powerhouse performances from both Constance Wu and Jennifer Lopez. For the latter, it was easily a career best that showcased her incredible range when it comes to acting.

The beauty of Hustlers, and why it made this list, is it’s also an excellent example of the power of the female gaze. Lorene Scafaria uses music, lighting, and precise camera angles to truly capture the important aspects of the story -- putting the focus on the women involved instead of their bodies. For example, the moment Janet Jackson’s “Control” kicks in the second the movie starts, audiences know what they’re in for. Much like the song proclaims, this is a story about women regaining control in a world that looks down on them, and Scafaria’s passion for telling this story properly radiated through every show stopping scene.

'Pariah' (Dee Rees, 2011)

Pariah was Dee Rees’ debut feature, based on her 2007 short film of the same name, and is a beautifully told coming-of-age story. Led with a compelling and authentic performance by Adepero Oduye, the story centers on a teenage girl named Alike as she embraces her identity as a lesbian. As the film chronicles Alike’s experiences with love, it’s unraveled through the emotional poetry that she writes, allowing audiences to feel these experiences along with her.

A lot of the authenticity within the film also draws from Rees’ own experience, which Pariah draws inspiration from. Rees portrays ever character in an honest and empathetic light, even if they don’t agree with Alike’s views, and emphasizes the importance of unconditional love, especially for oneself. Her dedication to telling a story that needs to be told is just one of many reasons as to why Rees is such a phenomenal filmmaker, and will remain that way for years to come.

'Wonder Woman' (Patty Jenkins, 2017)

It’s difficult to make a list like this and not include Wonder Woman. Patty Jenkins’ feature broke numerous records for female filmmakers, and remains one of Warner Bros. and DC’s best. Not only was it the first superhero film to be directed by a woman, but she also holds the record for the largest opening of all time for a female director. As if that wasn’t already groundbreaking, the director then took a sledgehammer to the glass ceiling when she fought to be paid as much as her male counterparts for directing the sequel, and got it. She’s now the highest-paid female filmmaker in history, and for good reason.

Wonder Woman was monumental for a number of reasons. Jenkins unapologetically brought an ambitious, compassionate, and strong-willed female to the forefront and showed that women like her can be admired and trusted. She was an equal to those around her, and that’s proven the moment she walks out onto No Man’s Land. She’s able to look at Steve and say, “this is what I’m going to do,” and step out on her own. This moment alone spoke a world of truth to female viewers all over. You can lead with love and still set your limits.

'The Rider' (Chloé Zhao, 2017)

Set on a South Dakota reservation, The Rider tells the story of a young man, played by first-time actor Brady Jandreau, who attempts to find a new identity for himself in the world after experiencing a near fatal head injury during a rodeo. The film is actually based on Jandreau’s own life experience, bringing an authenticity to the story that Chloé Zhao executes flawlessly on-screen.

What makes this movie stand out from other stories like it is its humanistic and compassionate approach to the characters at its center. Zhao’s film prides itself in immersing audiences into Jandreau’s world and the experiences that he has. Coupled with stunning cinematography that truly place viewers in Jandreau’s shoes, the film is an excellent example of breathtaking storytelling, solidifying Zhao as one of this generation’s most impressive filmmakers.

'The Babadook' (Jennifer Kent, 2014)

“If it’s in a word, or it’s in a look, you can’t get rid of the Babadook.” This haunting line carries so much more weight than just the monster looming behind it. Jennifer Kent’s Hitchcockian psychological horror film took the world by storm, and not just as a viral meme, but largely because of its complex and layered story. Essie Davis stars in the film as a widowed mother raising her six-year-old son, Sam (Noah Wiseman). But, after Sam finds an eerie pop-up book from which the film is named, chaos ensues.

What makes this film so jarring is how masterfully Kent flips the horror genre on its head. As the story unravels, it slowly shifts into the mother’s journey with parenting and struggle with mental illness. The Babadook becomes an embodiment of personal fears and trauma, and Davis captivates audiences with every scene she’s in as the paranoia grows. Is the monster real? Kent’s direction allows viewers to ruminate on that question all the way until the credits roll.

'The Breadwinner' (Nora Twomey, 2017)

This film marked Nora Twomey’s debut in animation, and went on to be nominated for Best Animated Feature at the Academy Awards. Based on the young adult novel of the same same by Deborah Ellis, The Breadwinner tells the story of a determined 11-year-old Afghan girl named Parvana who, while living under Taliban control in Kabul, Afghanistan, disguises herself as a boy to help provide for her family and maintain their survival after her father is captured.

Although the focus is on Parvana, Twomey expertly balances political and personal storylines. On top of its masterfully-told narrative, the animation beautifully captures Parvana’s world, making for an immersive film that’s poignant and powerful. It’s a story that carries an important, and relevant, message about political oppression, but still manages to let glimmers of hope shine into each frame.

'Leave No Trace' (Debra Granik, 2018)

Leave No Trace -- adapted from the 2009 novel titled My Abandonment by Peter Rock -- is a story about survival. Ben Foster and Thomasin McKenzie lead this film as a father/daughter duo living in isolation in a public park in Portland, Oregon. But, after the pair is discovered and placed in social services, their relationship is put to the test as they struggle to adapt to “normal” life.

The majority of this film is grounded in the father and daughter’s relationship, which is met with near constant ups and downs as the story progresses. The on-screen relationship is further elevated by both Foster and McKenzie’s performances, appearing so in-sync that it’s hard to believe they aren’t actually related. But, the true beauty of this film is how Granik patiently allows the story to unravel on its own. Much like Winter’s Bone, Granik’s ability to find light in the darkest of places serves her well in creating beautifully humanistic stories.

'We Need to Talk about Kevin' (Lynne Ramsay, 2011)

Once again, Ramsay returns to the list with another fantastically executed film. We Need to Talk about Kevin, based on the book of the same name by Lionel Shriver, tells the story of a travel writer named Eva (Tilda Swinton) who gives up her career to have a child with her husband, Franklin (John C. Reilly). But, once Eva gives birth, she finds that she can’t truly bond with her new son, Kevin. As time passes, Kevin (Ezra Miller) grows up into a sociopathic teenager who commits a horrific act in his school and is then sent to prison. Eva is then forced to come to terms with her son and what he did.

As if that storyline isn’t gripping enough, the acting from both Swinton and Miller is so electric and compelling that they fully embody the lives and emotions of these characters, no matter how horrific they are. These performances are all the more elevated by Ramsay’s direction, non-linear storytelling, and expertly executed camerawork. Each scene captures such heightened emotions that take viewers on an endless roller coaster as Eva meditates on her grief. It’s rare to experience cinema like that, and Ramsay relishes in fully capturing every inch of a story’s essence.

'Destroyer' (Karyn Kusama, 2018)

Nicole Kidman is no stranger to transformation when it comes to a role, but Destroyer took that to a completely different level. Kidman leads this film as a bereaved LAPD detective named Erin Bell who, when she was younger, went undercover to infiltrate a gang in the California desert that didn’t go as planned. Years later, the leader of that gang re-emerges, sending Bell on a path to face her demons head on.

Kidman delivers a powerhouse performance in this film that’s further uplifted by Karyn Kusama’s brilliant direction. Bell is an emotionally unstable anti-hero who’s struggling to reconcile with her past while also attempting to revive a distancing relationship with her daughter. It’s a journey that’s all her own, and Kusama relishes in unraveling this woman’s journey, as unlikeable as she seems. It’s still shocking Kidman never received any recognition for it, but hopefully, and similar to Jennifer’s Body, Kusama’s crime thriller will find its rightful audience one day.

'American Honey' (Andrea Arnold, 2016)

There’s a lot to take in within Andrea Arnold’s almost three-hour-long movie. Starring Sasha Lane as a young woman named Star, American Honey follows her escape from an abusive home life as she joins up with a traveling magazine sales crew and slides down a slippery slope of bad decisions with this band of misfits.

This isn’t a film that sticks with a steady plot, but rather its lively spirit derives from the young adults at its center. They live day-by-day with an erratic energy and are constantly in motion, much like the van they travel in. The film is a journey itself, and Arnold takes her time to immerse viewers into this world of limitless possibility that these young adults live in. Arnold manages to build up Star’s world and her self-discovery, even as the walls close in and it feels more suffocating. It’s long, but an immersive journey nonetheless.

'Can You Ever Forgive Me?' (Marielle Heller, 2018)

Speaking of transformative performances, Melissa McCarthy delivered a showstopping performance in this film based on the memoir of Lee Israel. McCarthy leads the film as Israel herself, an author stuck in her own head with writer’s block, financial troubles, and a drinking problem. She soon decides that the best way to revitalize her career is by forging letters from dead celebrities, a tactic that she finds has worked to some degree before. But, unfortunately, this new strategy doesn’t last long.

As unlikeable as Israel is, Marielle Heller approaches her story with a sympathetic lens. Israel is a deeply layered character that, on the outside, has difficulty with the world uncovering those layers. But, Heller places Israel in a vulnerable position with this story, and the audience sees small glimmers of the person underneath it all peak through the surface. It’s a beautiful example of a complex female character, and Heller’s direction delivers a fresh take that’s rarely seen in biopics -- providing an understanding lens for a difficult character.

'Toni Erdmann' (Maren Ade, 2016)

A film loaded with humor and heart, Maren Ade’s comedy was a Palme D’or contender at the Cannes Film Festival and even went on to be nominated for Best Foreign Language Film at the Academy Awards. Toni Erdmann is a joyous journey of a practical joke-loving father attempting to lighten up his hardworking businesswoman daughter. As simple as it seems, there’s so much more under its surface.

The relationship between a father and adult daughter is one that’s rarely explored in film, but Ade’s film manages to dig into the awkward complexities of it all with an abundance of humor. The lengthy runtime gives the leading actors, Sandra Hüller and Peter Simonischek, plenty of time to sink their teeth into these roles and take advantage of every aspect of their characters’ personalities. And all of it is beautifully topped off with Ade’s ability to mine the purest of moments from what appears to be just a simple comedy.

'A Girl Walks Home Alone at Night' (Ana Lily Amirpour, 2014)

This feature was Ana Lily Amirpour’s feature-length debut, and boy is it one for the books. The black-and-white film is categorized as an Iranian Vampire Western. Awesome, right? Set in the Iranian ghost town, Bad City, A Girl Walks Home Alone at Night follows a lonesome vampire as she stalks the streets for men who disrespect other women.

This film is wholly original and unique, which is one of the biggest reasons why it’s on this list. It’s clear that Amirpour was influenced by spaghetti westerns, as the film is steeped in that style, but its story borrows from a variety of other genres as well. Its narrative is grounded in emotion and relishes in atmosphere, but is also filled with important commentary about the repression of women, especially in regard to the vampiric Girl (Sheila Vand) leading it all. She’s a character who seeks to protect other women, and Amirpour directs that narrative with unabashed confidence.

'The Farewell' (Lulu Wang, 2019)

This film took the world by storm following its debut at the Sundance Film Festival this year. Loosely based on Lulu Wang’s own experience with her family, The Farewell tells the story of a Chinese family who, upon discovering that their grandma doesn’t have long to live, decide to keep it a secret and put together a family event for everyone to get together and see her before she dies.

There are a number of reasons why this film received so much praise from critics and audiences  alike. One, Awkwafina’s captivating performance astonished theater-goers the world over. She proved that she can tackle a dramatic role just as much as a comedic one, and it was an impressive first foray into the genre. And two, the film explored the Asian American experience, cultural differences, and dealing with death in a way that hasn’t been seen yet in cinema. Wang’s direction was bold, compelling, heartfelt, and honest, and proved that audiences want to see more stories like these being made.

'Appropriate Behavior' (Desiree Akhavan, 2014)

Desiree Akhavan is a director that always knows how to tell an important story with just the right amount of humor. Appropriate Behavior was Akhavan’s feature debut and was a smashing success after debuting at the Sundance Film Festival in 2014. Not only did she direct it, but she wrote it and starred in the film as the lead as well. The story follows her character Shirin, a bisexual Iranian-American, as she tries to rebuild her life following a breakup with her girlfriend, Maxine (Rebecca Henderson), while also navigating complications with her family who are completely unaware of her sexuality.

Not only is this story funny, but Akhavan brings a world of heart and authenticity to this coming-out story. Though she depends on some familiar tropes, the reason this story stands out is because of Akhavan’s honesty, which bleeds into every scene. It’s a story that clearly meant the world to her, and that importance radiates through all of her work.

'Lady Bird' (Greta Gerwig, 2017)

The number of coming-of-age stories in the world is seemingly endless, but very rarely do they make as much of an impact as Greta Gerwig’s beautifully-told Lady Bird. Starring Saoirse Ronan as the iconic titular character, the film follows Christine “Lady Bird” McPherson as she struggles with first loves, the trials and tribulations of college, and family problems in a post-9/11 world.

Ronan’s performance as Lady Bird is authentic and filled with a curious and wild energy, further enhanced by Gerwig’s punchy and whip-smart script. Not to mention, Laurie Metcalf as Lady Bird’s mom serves as an electrifying opposite to her daughter’s fierce independence. Not only do audiences get to watch Lady Bird’s life unfold as she transitions into adulthood, but they also get to see the beautiful complexity of her relationship with her mother. It’s a story that doesn’t focus on a young woman’s love life as she grows older, but rather centers on the ups and downs of growing up and experiencing the world on your own. This alone is what sets Gerwig’s film apart from the rest, and solidifies her as an exceptional talent.