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• Top 6 First Contact Films of All Time

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• Contact

  "Contact" (1997), starring Jodie Foster and based on Carl Sagan's 1985 novel, follows a SETI scientist who discovers an extraterrestrial signal containing instructions for building a machine capable of transporting a single human passenger, treating first contact as a genuinely scientific and philosophical event rather than a spectacle-driven threat. Its unusually serious, science-grounded approach to the first contact premise, developed with direct input from Sagan himself before his death shortly before the film's release, distinguished it clearly from the action-oriented alien films that dominated much of 1990s science fiction cinema. The film's central tension between scientific rationalism and religious faith, embodied in the relationship between Foster's atheist scientist character and a spiritually minded advisor, gave "Contact" a philosophical depth uncommon in mainstream first contact filmmaking of its era. Its combination of its rigorously science-grounded premise and its genuine philosophical engagement with faith and rationalism has made "Contact" one of the most intellectually significant first contact films ever produced.

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• Starman

  "Starman" (1984), directed by John Carpenter and starring Jeff Bridges, follows a benevolent alien who takes the physical form of a widow's deceased husband after his craft is shot down over Wisconsin, then journeys with her across the country to reach a rendezvous point before government agents can capture him. Bridges's performance as the alien learning to inhabit and move within a human body, earning him an Academy Award nomination, gave the film's contact premise an unusually physical, almost dance-like quality distinct from more dialogue-driven alien characterizations in other contact films of the era. Its road-trip structure, carrying the central pair across a wide swath of the American landscape while being pursued by a suspicious government scientist, gave "Starman" a genre-blending identity as both a first contact film and a fugitive road movie simultaneously. Its combination of Bridges's Oscar-nominated physical performance and its distinctive road-movie contact structure has made "Starman" one of the most emotionally affecting and genre-blending first contact films of the 1980s.

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• The Abyss

  "The Abyss" (1989), directed by James Cameron, follows a civilian oil rig crew recruited to assist a Navy SEAL team searching for a lost submarine, discovering an intelligent, non-human aquatic species living in the deep ocean trench below, relocating the first contact premise from outer space to Earth's own unexplored ocean depths. Its groundbreaking underwater visual effects, including an early and influential use of computer-generated imagery for the film's alien "pseudopod" water entity, represented a significant technical achievement that directly informed Cameron's subsequent effects work on "Terminator 2." The film's notoriously difficult underwater production, filmed largely inside a massive flooded nuclear containment vessel, became legendary within the film industry for its extreme physical demands on cast and crew, reflecting Cameron's characteristic commitment to technically ambitious, hands-on filmmaking. Its combination of its groundbreaking underwater visual effects and its distinctive ocean-set relocation of the first contact premise has made "The Abyss" one of the most technically significant and visually inventive contact films ever produced.

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• Paul

  "Paul" (2011), starring Simon Pegg and Nick Frost, follows two British science fiction fans on a road trip across the American Southwest who encounter a wisecracking, foul-mouthed alien named Paul who has escaped from a secret government facility, treating first contact as a comedic buddy-road-trip premise. Its affectionate parody of decades of science fiction and first contact film conventions, including direct references to "E.T.," "Close Encounters of the Third Kind," and numerous other genre touchstones, reflected writers Pegg and Frost's genuine affection for the genre they were simultaneously spoofing. The film's alien character Paul, rendered through motion-capture performance and voiced by Seth Rogen, combined convincing visual effects with a deliberately crude, irreverent personality that subverted the more reverent or menacing alien characterizations typical of the genre's more serious entries. Its combination of its affectionate genre parody and its subversively irreverent alien protagonist has made "Paul" one of the most distinctly comedic entries in the first contact film tradition.

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• Flight of the Navigator

  "Flight of the Navigator" (1986) follows a 12-year-old boy who disappears in 1978 and reappears eight years later, not having aged, having been taken aboard an advanced alien spacecraft that used his brain to store its navigational star maps, blending first contact with a time-displacement mystery structure. Its alien spacecraft character, voiced initially by Paul Reubens and rendered through then-groundbreaking computer-generated imagery for its transforming, liquid-metal-like exterior, represented a significant early use of CGI character animation in mainstream family filmmaking. The film's central mystery, built around the protagonist gradually uncovering what actually happened to him during his missing eight years, gave the story a distinctive investigative structure relative to first contact films that reveal the alien encounter from the outset. Its combination of its groundbreaking early CGI alien spacecraft and its distinctive time-displacement mystery structure has made "Flight of the Navigator" one of the most technically innovative and narratively distinctive family-oriented first contact films of the 1980s.

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More in Film & TV

• Hidden Figures

  "Hidden Figures" (2016), directed by Theodore Melfi, dramatizes the true story of Katherine Johnson, Dorothy Vaughan, and Mary Jackson, three Black women mathematicians whose calculations at NASA were critical to the success of the early American space program, based on Margot Lee Shetterly's nonfiction book of the same name. The film brought significant mainstream public attention to the real contributions of Black women "computers" at NASA during the Space Race, a history that had received relatively little prior widespread recognition, and it prompted renewed public interest in and honors for the real Katherine Johnson, who was still alive at the time of the film's release. Taraji P. Henson, Octavia Spencer, and Janelle Monáe's central performances drew significant critical acclaim, and the film became a notable box office success, outperforming many contemporary awards-season dramas and demonstrating a substantial mainstream audience for historical stories centered on Black women. Hidden Figures's combination of its overdue mainstream spotlight on real, previously under-recognized NASA scientists and its strong central performances has made it one of the most culturally significant true-story films of its decade.

• 12 Years a Slave

  "12 Years a Slave" (2013), directed by Steve McQueen, dramatizes the true story of Solomon Northup, a free Black man from New York who was kidnapped and sold into slavery in the antebellum South, based on Northup's own 1853 memoir of the same name. Chiwetel Ejiofor's lead performance and Lupita Nyong'o's supporting performance, in her film debut, both drew significant critical acclaim, with Nyong'o winning the Academy Award for Best Supporting Actress, and the film itself won the Academy Award for Best Picture. McQueen's unflinching, sustained visual approach to depicting the brutality of slavery, including several extended, unbroken takes of violence that the camera refuses to look away from, was widely credited with giving American slavery a more direct and confrontational cinematic treatment than most previous major studio films had attempted. 12 Years a Slave's combination of its direct grounding in Solomon Northup's own historical memoir and Steve McQueen's unflinching directorial approach has made it one of the most acclaimed and historically significant true-story films ever produced.

• Catch Me If You Can

  "Catch Me If You Can" (2002), directed by Steven Spielberg and starring Leonardo DiCaprio, dramatizes the real early life of Frank Abagnale Jr., who successfully impersonated an airline pilot, a doctor, and a lawyer while forging millions of dollars in checks before being caught by an FBI agent, played by Tom Hanks. The film was based on Abagnale's own memoir, and the real Abagnale, who later became a longtime security consultant working with the FBI, served as a consultant on the production, giving the filmmakers direct access to the actual details and methods behind his real-life cons. The film's stylish, buoyant tone and 1960s period production design, paired with John Williams's jazz-inflected score, gave the true story a lighter, more playful cinematic register than many other crime-based true stories, emphasizing the audacious cleverness of Abagnale's real schemes over their consequences. Catch Me If You Can's combination of its direct access to the real Frank Abagnale's own account and its stylish period filmmaking has made it one of the most purely entertaining true-story films ever produced.

• Erin Brockovich

  "Erin Brockovich" (2000), directed by Steven Soderbergh and starring Julia Roberts, dramatizes the true story of the real Erin Brockovich, an unemployed single mother who, working as a legal clerk, helped build a massive lawsuit against Pacific Gas & Electric over water contamination in Hinkley, California. Roberts's performance won her the Academy Award for Best Actress, and her portrayal of the real Brockovich's brash, persistent determination in the face of both corporate stonewalling and professional condescension became one of the most acclaimed performances of her career. The real underlying case resulted in a $333 million settlement, at the time the largest settlement ever paid in a direct-action lawsuit in U.S. history, and the real Erin Brockovich served as a consultant on the film and appeared in a small cameo role. Erin Brockovich's combination of Julia Roberts's Oscar-winning lead performance and its grounding in one of the largest environmental settlements in American legal history has made it one of the most acclaimed true-story legal dramas ever produced.

• The Social Network

  "The Social Network" (2010), directed by David Fincher from Aaron Sorkin's screenplay, dramatizes the founding of Facebook by Mark Zuckerberg at Harvard University and the subsequent legal disputes with his co-founders and the Winklevoss twins over credit and ownership of the company. Sorkin's screenplay, built around competing depositions and conflicting accounts of the same events, embraced the genuine ambiguity of the real underlying legal disputes rather than presenting a single definitive version of what happened, a structural choice widely praised by critics as an unusually sophisticated approach to dramatizing contested recent history. Jesse Eisenberg's performance as a fictionalized version of Zuckerberg drew significant critical acclaim, and the film's release while the real Facebook was still a relatively young and rapidly growing company gave it an unusually immediate, real-time quality rare for a historical biopic. The Social Network's combination of its sophisticated multi-perspective legal-dispute structure and its unusually immediate proximity to still-unfolding real events has made it one of the most critically acclaimed true-story films of the 21st century.