The 2020 selections for the National Film Registry, an archive of motion pictures chosen for their “cultural, historic or aesthetic” importance to the nation’s understanding of cinema, mirror some of the sweeping social movements of recent years.

For the registry’s 32nd year, Librarian of Congress Carla Hayden on Monday announced a slate of 25 movies selected for preservation, in consultation with members of the National Film Preservation Board and other experts. (Members of the public may also suggest films via an online submission form.)

The works in this year’s class, each of which must be at least 10 years old, range from the dark and despairing — like Christopher Nolan’s brooding 2008 Batman tale, “The Dark Knight,” and Stanley Kubrick’s dystopian 1971 adaptation of “A Clockwork Orange” — to such lighter, music-focused fare as “Grease” (1978) and “The Blues Brothers” (1980). The latest additions bring the total count of the registry to 800 titles.

While the list, as always, includes several instantly recognizable films — “Shrek” fans, rejoice — the most telling trait of this year’s selections is the sense it conveys of a long-overdue corrective to the underrepresentation of certain groups. This year, the list includes a record number of films directed by women (nine) and by people of color (seven).

Kathryn Bigelow’s “The Hurt Locker,” a 2008 thriller about Iraq War bomb disposal specialists that won the best-picture Oscar, marks the first selection to the registry for the director, who broke ground by working in genres once dominated by men. “Outrage,” a 1950 directorial effort from actress and pioneering filmmaker Ida Lupino, was one of the first films to explore the trauma of rape.

The registry also includes nods to films that went unheralded until recently. Kathleen Collins’s “Losing Ground” (1982), one of the first films directed by an African American woman, was one of only two features directed by the polymath — Collins was also a writer, educator and civil rights activist — before her death in 1988. The film was never released commercially during Collins’s lifetime, and it wasn’t until 2015, when the director’s daughter, Nina Collins, restored the semi-autobiographical tale (which the New Yorker called “a nearly lost masterwork”) that the film was reissued.

One of the most notable selections is a work that threads the needle of commercial success and cultural topicality: “The Joy Luck Club.”

The popular 1993 film, based on the even more popular 1989 Amy Tan novel of the same name, might have been a pivotal moment for Asian American representation. In taking on the film, director Wayne Wang, whose 1982 breakout, “Chan Is Missing,” was selected for the registry in 1995, hoped to blaze a trail for Chinese American stories.

“Up until then, there were really no true, authentic representations of Chinese stories, both in, perhaps, China or when they immigrate here as Chinese Americans,” Wang said, in a recent phone interview. “It was really important for me to do this film for Disney, which is a big studio, to be able to reach a larger audience.”

However, the 71-year-old filmmaker says he got a sobering glimpse at the paint-by-numbers thinking of the film industry.

“Right after ‘Joy Luck Club’ came out, I was naive enough to think, ‘Oh, maybe they will make more films with Chinese American characters.’ And that really didn’t happen,” Wang says. “I sort of banged my head against the wall quite a few times, and Hollywood is very good at slotting people, so I got slotted into working on women’s films with ethnic leading ladies such as Jennifer Lopez [in ‘Maid in Manhattan’].”

As the cultural conversation evolved, it wasn’t until 2018, with the critical and commercial success of “Crazy Rich Asians,” that the profound influence of “The Joy Luck Club” was fully acknowledged.

“It’s a whole different era and ballgame these days,” Wang says, noting the original novel’s more nuanced commentary on the fractured identity of the Chinese diaspora — similar to that of “Chan Is Missing.” “The characters in ‘Crazy Rich Asians’ — there’s some Chinese flavor to it, depending on which character — but they’re very Hollywood-adapted characters. You begin to see there’s so many different Asians, you can’t just pin them down as one thing.”

While Wang himself has largely undertaken more modest independent efforts for the past decade, including the recent “Coming Home Again,” he still believes films such as “Joy Luck Club” can serve as a template for the next wave of artists and decision-makers.

“One of the things I feel is really heartening is also that you meet a lot of executives who are younger Asians,” Wang says. “They are brought up in a world that is different, and they know what that world is and they tend to be more open to supporting that world.”

Films selected for the 2020 National Film Registry

“The Battle of the Century” (1927)

“The Blues Brothers” (1980)

“Bread” (1918)

“Buena Vista Social Club” (1999)

“Cabin in the Sky” (1943)

“With Car and Camera Around the World” (1929)

“A Clockwork Orange” (1971)

“The Dark Knight” (2008)

“The Devil Never Sleeps” (1994)

“Freedom Riders” (2010)

“Grease” (1978)

“The Ground” (1993-2001)

“The Hurt Locker” (2008)

“Illusions” (1982)

“The Joy Luck Club” (1993)

“Kid Auto Races at Venice” (1913)

“Lilies of the Field” (1963)

“Losing Ground” (1982)

“The Man With The Golden Arm” (1955)

“Mauna Kea: Temple Under Siege” (2006)

“Outrage” (1950)

“Shrek” (2001)

“Suspense” (1913)

“Sweet Sweetback’s Baad­asssss Song” (1971)

“Wattstax” (1973)

The Turner Classic Movies channel will screen a selection of films named to the 2020 registry starting Tuesday at 8 p.m., and featuring discussion by Hayden and film historian Jacqueline Stewart. Select titles from the registry are also available online for free viewing in the Library of Congress’s online Screening Room.