ROBERT EGGERS

When it comes to craft alone, Robert Eggers is unmatched. I get the sense he's truly a perfectionist, as all three of his films are so meticulously put together and constructed in a way that feels very true to either the mythology or the period that each film revolves around. On top of that, Eggers is just incredible at tone and world-building. While you can watch an Eggers movie and decipher it based on its commitment to lore and dialogue, each film does something very unique with its atmosphere, whether that be the impending dread of The Witch, the slow descent into madness in The Lighthouse, or the gruesome carnage of The Northman. Eggers just nails it every time. Up next, he has his remake of Nosferatu, and one can only imagine what nightmares he has in store for us.

BARRY JENKINS

While I'm not thrilled that his next project is a Disney prequel to one of my least favourite movies, 2019’s “live-action” The Lion King remake, there's no denying the outstanding masterworks he has created after he made a name for himself with his Best Picture-winning Moonlight. That film, alongside If Beale Street Could Talk and The Underground Railroad, are genuinely some of the most visually stunning works of art in the past decade. All of Jenkins' films — in some way, shape, or form — deal with identity, isolation, and independence in relation to being black in America. While his films can deal with heavy subjects, Jenkins powerfully avoids black trauma porn, constantly opting for a more hopeful tone, making him a truly sincere filmmaker.

JORDAN PEELE

I never in a billion years thought that one of the most respected modern horror auteurs would be Ozamataz Buckshank from Stanford University, but here we are. In 2017, sketch-comedy icon Jordan Peele debuted his sensibilities in the horror genre with Get Out. Since its release, Peele received an Oscar for Best Original Screenplay for the film, which has had arguably the greatest modern influence on the genre due to its themes and creativity. While Peele has yet to clear the extremely high bar of Get Out, he continues to dominate studio horror, with his follow-up film, Us, garnering acclaim and study, and Nope following suit. Peele seems to be in a dream position for a filmmaker, being that he seemingly has full creative freedom with his partnership at Universal, and he's the rare director who can sell a movie just because he directed it. An impressive accomplishment from someone who has only made three films.

GRETA GERWIG

Although not her first film (that would be the 2008’s Nights and Weekends), Lady Bird put the talents of Greta Gerwig on an extremely high pedestal, and she's yet to disappoint. Her films all seem to be personal to her as she deals with familial dynamics (specifically mother-daughter relationships) and womanhood in all her films. However, she does it in very different forms. Lady Bird is a coming-of-age film, her adaptation of Louisa May Alcott's novel Little Women is a period drama, and, of course, Barbie is an absurdist dramedy that made $1.4 billion. Each film struck a chord with audiences and critics in very unique ways, with all three receiving Best Picture nominations. Gerwig also was nominated for all three screenplays, which leaves me to believe that Gerwig will undoubtedly be a force going forward.

JOSH & BENNY SAFDIE

Full disclosure, we're reportedly not getting a film from these two as a duo for a while, which is sad, but it was a blast to watch The Safdie Brothers shine bright together. From their early days, they established themselves as true indie auteurs with their fascinating first film Daddy Longlegs, as well as the harrowing drama Heaven Knows What. However, they didn't hit the mainstream until the tense thriller Good Time, which helped give them some notoriety before the stressful masterpiece Uncut Gems shot them into the stratosphere. Uncut Gems has cemented itself as a modern classic, mostly due to the high-octane and nail-biting anxiety that the Safdies poured into nearly every scene. Somewhat unfortunately for fans, they've started doing solo projects. Benny co-created the critically acclaimed surrealist drama series The Curse with Nathan Fielder, and both brothers have separate sports dramas dropping next year (Josh has Marty Supreme with Timothée Chalamet, Benny has The Smashing Machine with Dwayne Johnson). I can't wait to see what they pull off in their respective solo careers, but I sure wouldn't be upset to hear they decided to make another film together. 

JANE SCHOENBRUN

Truth be told, of everyone on this list…and honestly any new-age director, for that matter…there is nobody I'm more excited by than Jane Schoenbrun. In their two narrative features, Schoenbrun has seemingly found themselves a brilliant knack for surreal psychological horror dramas with We're All Going to the World's Fair and I Saw the TV Glow. Their key themes include identity, self-affirmation, and relationship to media, all mainly regarding queer and trans individuals. In both of their films, the use of the camera and colour is fascinating, and the way they decide to implement horror in their own way is successfully chill inducing. In whatever way you may connect to Schoenbrun's filmography, it's hard to deny just how incredibly unique they are. 

DANIEL KWAN & DANIEL SCHEINERT

If you were to tell me the duo that directed Lil Jon’s “Turn Down for What” music video would become three-time Oscar winners, I'd cry foul, for sure. Yet, that is where we find ourselves after Daniel Kwan and Daniel Scheinert, also known as The Daniels, launched themselves onto the scene with their debut film, Swiss Army Man, introducing us to their wild sense of humour, surreal sensibilities, and soft touch when it comes to storytelling. One movie later, they were greeted with universal acclaim for their life-affirming, absurdist, martial arts sci-fi comedy, Everything Everywhere All at Once, a film that will likely remain one of the defining films of the 2020s. Not only did it win seven Academy Awards, when adding up every award that has been bestowed upon the film, it's currently projected to be the most awarded film in cinema history. And that was just The Daniels' second movie. God only knows what these two mad men have in store for us next. 

SEAN BAKER

Whenever I sit down to watch a Sean Baker film for the first time, I can always rely on him to offer me something truly one of a kind. Whether it's Tangerine, The Florida Project, Red Rocket, or his recent Palme d'Or-winning film Anora, which is currently a big Oscar hopeful, there are some similarities you can expect but they always come in their own packaging. Each film of his is a grounded, character-driven, raunch comedy that covers themes of class and sex work in a very judgment-free manner. Even at his film's wildest moments, everything about Sean Baker's direction feels authentic and lived in, creating experiences that'll entertain you and make you laugh, but also make you stop for a minute to realize you just witnessed something incredibly special. 

DAMIEN CHAZELLE

The prowess of Damien Chazelle is remarkable. From his debut film, Whiplash, Chazelle constantly pushes the envelope with a deft hand that makes it clear that he is a master behind the camera. This is showcased even further with his second feature, La La Land, an astonishing feat of filmmaking that he pulled off at just 32 years old. While I admit that Babylon is not my cup of tea, that film (alongside his Neil Armstrong biopic First Man) shows Chazelle is willing to experiment with music and editing, unlike most working directors. Even if his most recent film may have not been the best chapter of his career thus far, I have no doubt that he can bounce back.

RYAN COOGLER

As simplistic as this may sound, Ryan Coogler is one of those directors that just "gets it." After his outstanding, gut-turning debut, Fruitvale Station, Coogler has changed his tune to become a very important figure in the studio blockbuster game. His Rocky spinoff Creed was a massive surprise that, in my opinion, set the bar really high for the recent glut of legacy sequels. He then dipped his toes into the Marvel machine with Black Panther and Black Panther: Wakanda Forever, two films that were so critically acclaimed that even Marvel deniers like me had to concede to their excellence. Even at his highest scales, Coogler never loses sight of the emotional stakes that guide his films to give them more meaning than just blockbuster thrills, and I, for one, cannot wait for his next offering, Sinners, with Coogler-muse Michael B. Jordan in dual roles.