21st Century’s 100 Best Overlooked Movies

This French-Canadian slow-burner, written and directed by Denis Villeneuve, will pull you in with one of the best movie beginnings of all time – and its outstanding ending will leave you shaken. To fulfill their mother’s last wish after her sudden death in Montreal, the two twins Jeanne and Simon must travel separately to an unnamed Middle-Eastern country (with strong resemblances to civil-war-torn Lebanon) to deliver letters to close relatives they never knew they had.

The twins’ quest into a dark and staggering family history makes them experience themselves and the violence of war like they had never imagined. Their ordeal is interrupted by a series of flashbacks telling the story of their mother, Nawal Marwan, before leading them to uncover a deeply disturbing secret. Based on Wajdi Mouawad’s 2003 play of the same name, this melodramatic war thriller takes a poetic and poignant look at how families are shaped by atrocities – even long the after wars that produced them have ended.

Understated in budget but lavished with praise, this semi-autobiographical drama by Daniel Destin Cretton flings its audience into the chaotic lives and personal crises of at-risk youths and the passionate social workers that aid them. In his first feature film, the young director draws the viewers into the storm of events and the emotional ups-and-downs of social work in America, going from uplifting to depressing and back – and every emotion in-between.

Set in the real-life and eponymous group home Short Term 12, devoted but troubled foster-care worker Grace is played by Brie Larson, whose shining performance in her first leading role was lauded by critics. Fans will also recognize the supporting actors Lakeith Stanfield and Rami Malek, who broke out in this movie. Short Term 12 is now considered one of the most important movies of 2013 – some say of the decade – owing to its immaculate writing, intimate camerawork, and gripping performances.

With ‘Wild tales’, writer-director Damían Szifrón explores exactly how thin the proverbial veneer is on the passions of the human heart. Or rather he gleefully rips it off. Visually dazzling and laced with social critique, violent revenge is the theme joining the six vignettes together. Each one starts off in a relatable everyday situation, including an airplane, a wedding, and a coffee shop, which quickly propels into complete savagery of Roald Dahlian proportions.

Like the famous author of Charlie and the Chocolate Factory, Szifrón writes great satirical characters, which he relishes in hurting and throwing in the ditch. And much like the rage of its protagonists, featuring Ricardo Darín as a family man articulating his by way of explosives, this movie does not know peaks and valleys. It’s a dark comedy thrill ride that will have you gasping for air!

It comes as no surprise that former Bond villain Mads Mikkelsen won Best Actor in Cannes for delivering on this challenging role. In this merciless thriller by Danish director Thomas Vinterberg, the ice-eyed actor plays Lucas, an out-of-luck high school teacher struggling to start a new life. After a bitter divorce, he returns to the close-knit community he grew up in to work as a kindergarten teacher.

A few weeks before Christmas, a child from his class, who has an innocent crush on the popular teacher, hints to a colleague that he had exposed himself to her. The young girl’s intimation galvanizes the small hunter’s town into a witch-hunt that leaves Lucas’ life hanging from a string. Trapped in the lies, the more he fights back, the more irrational the mob becomes. In all its brutal honesty, The Hunt is one of those rare thrillers that will haunt you for days. Extraordinary and thought-provoking!

Much like Berlin’s infamous nightlife, which serves as the backdrop to the plot, this daring German real-time drama will eat you up and spit you out. After leaving a nightclub at 4am, Victoria, a runaway Spanish girl, befriends a gang of four raucous young men, climbing rooftops and drinking beers among the city’s moon-lit streets. The gang’s light-hearted banter is impressively improvised from a skeleton script, offset by Niels Frahm’s ominous original score.

But what starts out as late-night high jinks swerves into darker territory. Driven by her infatuation with the pack leader Sonne, played by Frederick Lau, Victoria ends up being recruited as a get-away driver for an ill-prepared bank robbery and loses herself in a sinister spiral of events. What sounds like a standard-issue crime drama is, in fact, a staggering cinematic experiment.

Filmed in one take, on location, and in real time, the movie’s production is indeed a gamble, but director Sebastian Schipper more than pulls it off. The claustrophobic camerawork of cinematographer Sturla Brandth Grøvlen leaves the viewer feeling like a hapless accomplice to Victoria’s plight. With Laia Costa giving an awe-striking lead performance, the high wire acting of the entire main cast only adds to this effect. Victoria is a stellar directorial debut, heart-stopping drama, and a truly immersive experience.

Not one but two Oscars as well as a Golden Globe are among this movie’s never-ending list of accolades. It was the first Iranian film ever to get an Oscar and the first non-English film ever nominated for Best Screenplay. Originally titled The Separation of Nader from Simin in Persian, it homes in on the dissolving relationship of a middle-class couple from Teheran – and the unintended consequences of tragic events.

However, this film is so intense, well-acted, and well-written, it defies categorization. To be sure, the movie does offer a painful look at a deteriorating marriage. It’s also timely, dealing with the politics of theocracy, economic underdevelopment, and social alienation. It presents tense moral dilemmas without pointing a finger. If you’re curious to learn about the humans of Iran and, by cultural extension, the humans of the Middle East beyond the scope of global politics, A Separation is also for you.

But please don’t call it world cinema, because this is no Slumdog Millionaire. Above all, it is a searing portrayal of human conflict, relationships, and morals. It is an almost perfect depiction of how many bad people are simply good people running out of options.

This is the true story of Oscar Grant III, a 22-year-old Black man in Oakland, California, who was shot dead by police in the morning hours of New Year’s Day 2009. Incidentally, 2009 was also the time when smartphones started going mainstream, and so the incident was not only captured by CCTV but also many private cell phone cameras. The murder went viral.

Grant is superbly played by Michael B. Jordan in what now counts as one of his breakthrough roles, when many only knew him as Wallace in the now-legendary crime drama The Wire. Director Ryan Coogler went on making two more movies with him, including Black Panther in 2018.

Produced by Academy Award winner Forest Whitaker and compassionately told, Fruitvale Station surpasses the sadness of its subject matter and amounts to an extraordinary celebration of life. A must-watch.

Aptly named ‘Rupert Grint on speed’ by one critic, Antoine-Olivier Pilon plays Steve, an abusive ADHD adolescent who just got out of a juvenile care facility for setting fire to the school cafeteria and injuring a fellow student. Similarly, his mother Diane, played by Anne Dorval, is a type of Lorelai Gilmore on speed – and to say that sparks fly when they clash is an understatement. But help comes from unexpected places: ‘Die’ makes friends with Kyla, an anxious teacher living across the street, who then gets sucked into this crazy, volcanic mess.

Mommy is the fifth feature film by French-Canadian don’t-call-him-a-hipster director Xavier Dolan and won the Cannes Jury Prize for its originality. It is shot in the 1:1 ‘portrait’ format, but every now and then a moment of exhilaration will crack open the frame. The brutality on screen is sugar-coated by an all-over-the-place soundtrack that includes the Counting Crows, Celine Dion, and Blue (Da Ba Dee) by Eiffel 65.

Shrill, violent, and demented, this out-of-control dark comedy will punch you in the guts. But it also aims straight for the heart and doesn’t miss. Prepare to be continually torn between laughing out loud, clawing your seat, and covering your mouth in shock.

Directed by Taika Waititi, who also gave us Boy (2010) and co-produced What We Do in the Shadows (2014), Hunt for the Wilderpeople is the quirky and magical buddy movie you want if you’re in need of an antidote to a bad day or a steady diet of sad movies.

It tells the off-kilter adventure story of misfit, rap-loving city kid Ricky Baker and his crusty and cantankerous foster parent ‘Uncle’ Hec, played by Sam Neill. ‘Very bad egg’ Ricky has been bounced out of more foster families than he cares to remember and is given one last chance of living with a couple out on a farm in rural New Zealand. After tragedy strikes early in the film, the unlikely pair gets lost in the wilderness and becomes subject to a nationwide manhunt.

Full of dead-pan humor and warm-hearted mockery, this audience favorite fuses visual gags delivered by a charming cast with sweeping shots of spectacular scenery!

A wealthy paraplegic needs a new caretaker. His choice is surprising — an ex-con down on his luck. Both of their lives are changed forever. Based on a true story, it is funny, touching, and very surprising.  It will have you rolling on the floor laughing one minute and reaching for your hankie the next. Intouchables is one of those perfect movies, that will easily and instantly make anyone’s all-time top 10 list.

Get ready to cry your eyes out, scream in anger, but also rejoice at the powerful love that exists in our world. We will not spoiler the premise of this documentary and urge you not to do so yourself. Instead, we recommend watching it and prepare to be changed forever. Call it true crime if you will, but this documentary is much more. Hailed as one of the most important documentaries of the 2000s, it is a testament to friendship and love, a real-life thriller, and a political denouncement all in one.

This untamed, high-octane portrait of the Belfast hip-hop trio Kneecap follows real-life members —aliases Móglaí Bap, Mo Chara, and DJ Próvaí, all playing themselves—as they forge a path from lost teens to unlikely cultural icons. Being the first hip-hop act is their native Irish, they’re met with disdain both from their community who think they are misrepresenting the Irish cause (DJ Próvaí translates to DJ Drug Dealer), and from the British for things like playing the same venue where King Charles spoke the night before and one of them exposing their butt with the words “BRITS” and “OUT” written on either cheek.

The story ends up being as much as about the group as it is about identity, artistic freedom, even the Ireland of today – and yet the core of Kneecap, perhaps not just the movie but the group itself, seems focused solely on the importance of having fun while dealing with all of it. The ride is exhilarating, often very funny, and even in tough moments, upbeat. Hang tight.

If you’re not a fan of F1 racing, you might not know who Ayrton Senna is. If you are, there is no way you don’t know. However, this 2010 British-French documentary packs so much thrill and emotion, you don’t have to be a racing enthusiast to be engrossed by it.

So, who is Ayrton Senna? At a time when F1 cars were +1000HP fire-breathing monsters and the grid was stacked with world champions, the Brazilian racing driver rose above the rest to take 3 world championships and win the fabled Monaco Grand Prix a record 6 times. At the age of 34, a devastating car crash took his life.

Director Asif Kapadia develops a compelling, emotional, and exhilarating portrait of F1 racing and the man that was Ayrton Senna. He is still considered by many to be one the best and most exciting racing drivers to have ever stepped into an F1 car. The documentary too, is a thrilling pursuit: moving, psychological intriguing and absolutely nerve-wracking!

Legend has it that director Derek Cianfrance had the co-stars and co-executive producers Michelle Williams and Ryan Gosling live together in the same house for a month in preparation of their roles. The fictional couple they play in Blue Valentine lived in the same house. True or not, this created the harsh proximity, intensity, and claustrophobia that is a hallmark of this production. Blue Valentine brings us painfully close to the couple’s attraction as well as their agony.

In this way, Blue Valentine is a heart-breaking examination of the decaying shell of a once-bright marriage. As sad as it is sexy, it mixes intense flashbacks of past desire with the grim reality of married life’s monotony. It boasts an electrifying performance from Michelle Williams and Ryan Gosling, who seamlessly combine tenderness and lust, rage and sadness. This is a guaranteed tear-jerker, so make sure you’ve brought your Kleenexes!

Her is a movie with plenty of heart, in all its variations: love, sadness, hope and confusion. Through perfectly crafted production, the futuristic surroundings where the movie takes place will feel familiar only few minutes after it begins. This added to the amazing performance by Joaquin Phoenix delivers an unprecedented study of moving on from relationships that once seemed to last forever on one hand, and of the pursuit of intellectual love on the other. Her is thought-provoking in the most beautiful way possible, it narrates a relatable human being’s story. It is one of those movies you will keep remembering every once and a while in different contexts of your life.

Dorky kid Greg Gaines (played by the brilliant and unlikely named Thomas Mann) has severe issues with closeness (he calls his best friend a “co-worker”) and is instructed by his mother to befriend Rachel (Olivia Cooke), a girl recently diagnosed with cancer. Far from being an indie tear-jerker, though, “this isn’t a touching romantic story”, as Greg’s narration reminds us. This is not least to the quirky nature of the film and the third titular character Earl, Greg’s closest co-worker, who acts as the moral glue between Greg and Rachel.

In addition to hilarious writing and amazing performances, the film is laced with pop-cultural references by way of the movies that Greg and his Earl shoot in their spare time – spoofy takes on cult movies with titles like Sockwork Orange. Moving without being melodramatic, Me and Earl and the Dying Girl is a charmingly off-kilter fish-out-of-water plot about making friends, dealing with death, and enjoying life best as one can.

A dark and gritty movie about the lives of two of Boston’s finest. This film portrays the hard and unbearing choices the leading man has to make; lose his friends and continue with the only life he ever knew and maybe even end up dead or challenge his predicament and burn every last ship behind him. The amazing and impressive cast delivers outstanding performances, the characters are all in their own way realistic and have all good reasons to behave as they do. Jeremy Renner is a major force in this movie. In every scene, you can feel his strong presence. Renner with his chilling, loyal and violent attitude looks like he can explode anytime but he just waits for the right moment to blaze off.

American folk singer Sixto Diaz Rodriguez recorded two albums in Detroit in the 1970s, which he played live across the city, but never to critical acclaim or commercial success. Disappointed, he soon quit his musical career, bought a run-down house in the Motor City, and lived a simple life working in construction. So far, this sounds like the biography of many musicians that never quite made it, talented or otherwise.

However, a strange thing happened. By the mid-1970s, his albums were getting significant airplay in countries like Australia, Zimbabwe, and Apartheid-era South Africa, where he was soon considered a musical voice on par with the Beatles. While living a reclusive life in Detroit, Michigan, he unwittingly became a star on the other side of the globe. This engaged and visually appealing documentary by the late Swedish director Malik Bendjelloul tells his story and spells out a fascinating footnote of global music history.

The Great Beauty is a film of superlatives! Originally titled La Grande Bellezza, this movie by Italian star director Paolo Sorrentino is so replete with lush, opulent cinematography, it sometimes borders on sensory overload. Having won Best Foreign Language Film at the 86th Academy Awards, as well as the Golden Globe, and the BAFTA award in the same category, The Great Beauty is also a critics’ darling and an award-show sweeper – in addition to being hailed as Paolo Sorrentino’s greatest work to date.

Essentially a tragicomedy, it is both a study and a celebration of the hedonism and decadence of its main protagonist – the bon-vivant and modern-day Roman socialite Jep Gambardella (played by an electrifying Toni Servillo). Instead of honing the craft of writing, Gambardella at some point decides to become the self-proclaimed “king of high life” of Rome. After his 65th birthday, he experiences a shock that changes him for good, prompting him to look past the parties and the nightclubs and to discover the sublime beauty of his hometown, the eternal city. In this way, The Great Beauty is a meditation on art, regret, and pleasure – and Sorrentino’s love letter to Rome.

If you’re a fan of the Beach Boys’ legacy, or you want to find out more about Wilson, the person, this movie will give you what you need. It has been widely praised as being true to the facts – even by Bryan Wilson himself. But thanks, in part, to the incredible writing by Oscar-nominated Oren Moverman and the work of director Bill Pohlad, this is much more than a fact-based fictionalization of a famous musician’s biography. It is a singularly convincing account of the artistic process and the effects of mental illness.

Love and Mercy tells the tale of two Bryan Wilsons: the first of a young and slightly square-looking musical pioneer in the 1960s, when Wilson was working on Pet Sounds, the Beach Boys’ most ambitious and ground-breaking album. Paul Dano’s performance here is nothing short of perfect. And, second, the tale of the tormented, middle-aged Bryan Wilson, played by John Cusack, during a time when he was under treatment for his deteriorating mental health in the late 1980s. The juxtaposition of these two very different people and the brilliant performances of Cusack and Dano will completely absorb you and change the way you look at things. A unique and beautiful film!

Revealing the gaps in the social safety net, I, Daniel Blake, is a tale centered around a blue collar worker navigating the welfare system in England. At a time where class and social mobility could not be more politically salient, this film calls into question the notion of the “citizen” and exposes the inaccessibility to the social protections in which one presumes entitlement.

At the forefront of this, is a heart-warming parable of paternal companionship between Daniel (played by Dave Johns) and a single mother – Katie – (played by Hayley Squires) who is wading through similar terrain. The acting in the film is unfathomably raw which cultivates the deepest source of gut wrenching compassion. Ken Loach has created a film that exposes the true power of empathy, leaving you feeling helplessly human.

Former activists Ben Cash (Viggo Mortensen) and his wife Leslie drop out from modern consumerist society to raise their six children in the wilderness of the Pacific Northwest. They teach them how to raise and kill their own food, to survive in nature through boot-camp-like workouts, and homeschool them in literature, music, and left-wing philosophy. Instead of Christmas, they celebrate Noam Chomsky’s birthday. Then, one day, this unusual family life is shaken by a phone call and they are forced to leave their life of adventure to reintegrate into American life.

Directed by Matt Ross, who also brought you Good Night, and Good Luck, the film offers a poignant look at alternative living, the effects of modern technology, and the nature of good parenting. Viggo Mortensen is indeed fantastic as the grizzled father and was rightly nominated for a Golden Globe and the Academy Award for Best Actor. George MacKay and the entire cast of “children” also deliver terrific performances. As emotionally raw and thought-provoking as it is funny, Captain Fantastic will have the viewer decide if Ben Cash is the best father in the world or the worst.

A hot summer night, around 2 a.m. You’re outside talking with a close friend about life, happiness, and the human condition. That quality and depth of conversation, which you reach at best a couple of times a year is present throughout the 106 minutes of The End of the Tour.

In the case of this movie, you become the witness of five days of conversation spent between two fine writers: the once-in-a-generation American author David Foster Wallace and best-selling Rolling Stone journalist David Lipsky, as they travel the US during the 1996 publicity tour for the former’s magnum opus, Infinite Jest. Twelve years later Wallace will commit suicide.

Like a good podcast, the James-Ponsoldt-directed road movie makes you feel being part of a deeply personal conversation of the kind you would have with a long-time friend. At times, it can feel like eavesdropping on a genius at work. This effect is helped along by a flawless Jason Segal, who delivers an award-worthy performance as DFW. The fierce intelligence exuded by Jesse Eisenberg as David Lipsky is also nothing short of amazing. As they stuff their faces with junk food, their conversation is insightful, immediate, and unpretentiously relevant, making The End of the Tour a rare and important film.

The film opens with Julie in her early twenties, longing to pursue a career in medical school. But after briefly testing the waters, she switches over to psychology, only to drop completely out of school and transform her hobby of photography into a professional career. This indecisiveness carries over in most aspects of her life, including and especially in romance, where impulse and desire drive her to run after what she believes to be love. The movie follows Julie as she navigates adulthood in modern Oslo—at once a specific yet universally relatable story about the growing pains of growing up.

With The Worst Person in the World, Joachim Trier scores again with another life-changing Norwegian drama about longing, love, grief, and finding your place in the world. His films can be quite sad but amidst all the drama, moments of happiness and hope are scattered throughout, as it is in real life.

In Aftersun, Sophie recalls a holiday she took as an eleven-year-old in the ‘90s with her father. Video recordings help jog her memory, but she’s looking for more than just a blast from the past. Rather, she seems to be seeking answers to fill in the gaps between who she knew as her father and who he really was: an immensely nice but deeply troubled man.

At first, Aftersun looks like a simple but beautiful story about father and daughter bonding over the course of a summer trip. But within minutes, it’s clear that there are layers to Aftersun, emotionally and editorially, that aren’t always explained but nonetheless enrich the movie with profound meaning. Stirring, complex, and surprisingly inventive, it’s not surprising that Aftersun is one of the most beloved films of the past year.

It’s a testament to Agnès Varda’s remarkable ability to glean so much raw beauty and truth from the world that this autobiographical documentary is such a rewarding watch, even for people unfamiliar with her. The Beaches finds the pioneering director in reflective mode as she looks back at her work and life, but her artistic impulses are by no means stagnant: she approaches the past with the same — if not more of the — generous candor and youthful spirit that colored her career.

It’s also a testament to Varda’s inimitable artistic touch that she turns a usually-bleak subject — mortality — into something this life-affirming. The Beaches was made when she was 81, aware of her own ticking clock and still nursing the decades-long loss of so many loved ones (chiefly, husband Jacques Demy). Just as her grief-stricken reflections don’t overwhelm the film with sadness, the whimsical impulses she indulges here — like constructing a beach on the street in front of her office — don’t blunt the sharpness of her candor. The overall effect is bittersweet and profoundly inspiring: as with the mirrors she places in front of the tide in the film’s first scene, she’s showing us it’s possible to face the inescapable with a twinkle in your eye.

While today’s moviegoers would likely pick Black Swan as the ballet film of choice, there is one film classic that brings the title of the best ballet film in contention. That is The Red Shoes. It first divided critics of film and ballet alike, but as time went by, the spectacular drama from Michael Powell and Emeric Pressburger deservedly garnered acclaim for the brilliant, novel ways of bridging the gap between art forms. Of course, the most obvious of these is the lush, stunning 17-minute dance sequence that first incorporated dynamic camera movement to the choreography, and captured Han Christian Andersen’s story to its essentials. But aside from just depicting the dance, The Archers reconfigured every other single aspect of film to bend toward the movement without breaking the beauty of every shot– the scoring, the casting, the production design, and the ballet-within-a-film plotline. It’s because of this that The Red Shoes garnered a legacy of being one of the best ballet films, one of the best British films, and even one of the greatest films ever made.

Daniel Day Lewis absolutely dominates the screen as Daniel Plainview, an oil man whose voice and means of business evokes a sense of calmness and confidence mixed with a terrifying presence. He goes through life by adopting a son, building oil fields near churches and religious people, and getting his way by any means necessary. However, over time, his true feelings, attitude, and his greed come to surface through the slick, mucky, and thick oil of his shell. Featuring an equally impressive performance from Paul Dano, the assured and expert direction and tremendous screenplay of Paul Thomas Anderson, Robert Elswit’s gritty award-winning cinematography; and the score from Radiohead’s Jonny Greenwood, There Will Be Blood is considered by many to be the best film of 2007, and the 2000’s, in general.

Written and directed by Academy-Award-winning Kenneth Lonergan (Manchester by the Sea, Gangs of New York), you can certainly count on the qualities of this subtle, beautiful, and moving drama about two siblings growing apart and reuniting later in life.

An Academy-Award-nominated Laura Linney plays Sammy, a single mother in a small town who is extremely protective of her 8-year-old son. When her younger and somewhat troubled brother Terry (played by the ever-reliable Mark Ruffalo) visits her out of the blue, Sammy has to deal with a slew of contradicting emotions towards her brother, whose appearance threatens to upend her life as she knew it.

Straight, thoughtful, and beautifully crafted, You Can Count on Me is an honest and genuine exploration of unconditional love in celluloid form. Think of it as much more hopeful The Skeleton Twins.

Director Bryan Fogel, who you might know as the guy behind Jewtopia, initially set out to chronicle his exploration of doping to win an amateur cycling race. He starts off by reaching out to experts to help him with obtaining and administering said drugs, one of which points him towards Russian scientist Grigory Rodchenkov, the director of Russia’s national anti-doping laboratory. Rodchenkov eagerly agrees to help him out.

Little did he know that his Russian acquaintance would transform Fogel film from a self-experiment documentary into a true-crime political thriller, when the scientist admits to being involved in a state-sponsored doping scheme of epic proportions on camera. Putin is obviously not amused.

Aside from all the madness that unfolds in this Netflix production, it’s Rodchenkov’s likeable and eccentric personality that makes the story more relatable and human as well as giving you a rare glimpse into the upper echelons of a country like Russia. As the plot thickens, one can’t help but think that Fogel too is in over his head. Rightly award-winning, this is gripping stuff even if you’re not into sports!

Phenomenal and heartbreaking, Wind River is a true masterpiece by Taylor Sheridan, the man behind Sicario and Hell or High Water. In a Native American Reservation, a local girl is found dead and a young detective (Elizabeth Olsen) tries to uncover the mystery. She is accompanied by a tracker (Jeremy Renner) with his own dark history in the community. It’s not a very rewarding movie at first, so don’t expect an incredibly fast-paced story from the get-go. However, when everything unfolds, it’s not only action-packed, its reflections on indigenous communities are deep and poignant. How this remains a relatively known movie is shocking, it has to be one of the best mysteries of the past 20 years.

Monster is a deceptively simple story about growing up and the many misunderstandings that come with it. It’s told through different points of view, a technique that could easily feel gimmicky in the hands of a lesser director. But with director Hirokazu Kore-eda at the helm, it feels natural and inevitable, as if there was no other way to tell this specific story. It’s a masterful mystery, but Monster is less about suspense and answering the whodunnit question than it is about navigating the murky waters of truth and real life. As corny as it sounds, watching Monster is an experience unto itself: you’ll find yourself believing something one moment and dismantling it the next, learning and unlearning in a span of two hours. But as with past Kore-eda films, it’s the story’s heartwarming sensitivity that trumps everything. You’ll likely come for the mystery but stay for its heart.

This might just be the most insightful movie about men. Watch if you are a guy and you will cringe endlessly from seeing yourself in the characters, and if you are a girl  you should also watch it to laugh and understand the men around you better (yes, it is that insightful). Rob Gordon, a music fanatic who owns a record store, tells the stories of how his relationships ended, included the one ongoing. So if you are asking if this is a romantic comedy about a man trying to move on from a breakup, yes, it is. And it Works. High Fidelity is in fact funny, interesting and comes with a unique look at relationships. But it is mostly simple and entertaining, and with perfect performances from John Cusack and Jack Black as well as an immaculate soundtrack, it is a must-watch.

Simply titled The Imposter, this film by English documentary maker Bart Layton tells an unbelievable tale. Any plot summary doing this film justice has to err on the side of brevity, which is why it will be only one line long: this is the story of Frederic Bourdin, a serial imposter nicknamed “The Chameleon”, who at one time claimed to be the missing son of a family from Texas. The film is so well-shot that it is hard to tell fact from fiction at times and it will force you to remind yourself that this is in fact real life. Expect twists and turns at every corner and brilliant storytelling from real people. If Christopher Nolan created a 48-hour story, it would pale in comparison to this film.

Danish films somehow have a unique approach to emotions that are rarely matched and this Susanne Bier-directed drama is no exception. Its protagonist is Jacob Peterson, a driven idealist played by Mads Mikkelsen, who runs a fledgling orphanage in India. Close to giving up, Peterson returns to Copenhagen to meet a billionaire, who is offering to fund his charity project. However, there is a dark secret at the heart of this relationship, throwing Peterson into disarray. This elegant and Academy-Award-nominated Danish film has it all: fantastic cast, great direction, and a few special ingredients that turn a good drama into a thrilling one!

A Prophet, or Un Prophete, is an unconventional French film that combines prison drama with the Goodfellas-styled narrative of the rise to criminal power. Shot by the inimitable French director Jacques Audiard, A Prophet is a future classic from the get-go, taking age-old cliches and turning them on their heads. It’s not often that a film leaves us giddy with enthusiasm and constantly thinking back to it, but A Prophet is so intense, you won’t be able to let it go. Incredible acting, especially by then-newcomer Tahar Rahim, fantastic pacing, a great narrative arc with a brutal and uncompromising take on morality, self-realization, and life on the fringes of society. There are only two, quote unquote, action sequences in this movie and they are as brutal and realistic as they are unexpected. Look past the subtitles, do yourself a favor and watch this film.

In 2008, legendary and controversial director Darren Aronofsky delivered yet another unforgettable allegory, starring Mickey Rourke as Randy “The Ram” Robinson, an aging professional wrestler long past his prime, who is struggling to retain a sense of identity, purpose, and dignity later in life. Rourke, who worked as a professional boxer in his 90s and, like his protagonist, almost hung his hat at the time the movie was shot, delivers a once-in-a-lifetime performance that rightly earned him a Golden Globe. Everybody talked about this movie when it came out! Marisa Tomei’s performance, who plays the mid-40s stripper The Ram pursues a serious relationship with, was also deemed iconic by some critics. Shot on 16mm film, The Wrestler’s cinematography, like its acting, feels incredibly raw, intimate, and realistic. It is essentially about bouncing back, making amends, and growing old and features acting performances that will be remembered for a long time. One for the books!

Winner of a Golden Bear and a slew of awards at the European Film Awards in the early noughties, Head-on is named after the suicide attempt of Cahit Tomruk (played by the late Birol Ünel), a Turkish-born German in his mid-40s. At the psychiatric clinic where he is treated, he meets the equally damaged Sibel Güner who is also of Turkish descent. (The first ever feature film of famous German actress Sibel Kekilli, who you might know from Game of Thrones.) Sibel persuades him to marry her in an attempt to break away from her traditional-minded parents.

If you think this plot summary was tough stuff, it gets even grimmer from there. Directed by famous German filmmaker Fatih Akın, the intensity with which Kekilli and Ünel perform the character’s unhinged self-hatred is as raw as it gets. Head-on is a brutal, gritty, and heart-wrenching story about the violence of love and hedonism – and the struggle of third-generation Turkish immigrants in Germany.

The first movie to be nominated for both the Documentary and Foreign-Language Oscar categories and the most awarded film of the 2019 Sundance Festival, Honeyland quietly accompanies the last wild beekeepers in Europe over three years. It portrays the lonely and primordial life of Muratova, which is centered around harvesting honey according to the rules of her ancient ancestors and caring for her ailing mother.

Originally planned as an environmental documentary, this film evolved into something completely different, as it often goes with immersive documentaries, when the Macedonian directors Tamara Kotevska and Ljubomir Stefanov met beekeeper Hatidže. The film takes another sudden turn when Muratova’s life is upended by a nomadic family settling next door, threatening her tradition, her way of life, and her natural environment.

This unbelievable cinematic journey is a feast for the eyes thanks to the amazing work done by cinematographer Samir Ljuma. However, despite the awe-inspiring imagery, Honeyland never imposes on its subject, creating an incredible intimacy with Hatidže’s life and her natural environment. Breathtaking!

Based on a classic Japanese folktale, Isao Takahata’s last film will break your heart. This adaptation, of course, follows Princess Kaguya from her being discovered in a glowing bamboo stalk to her departure to the moon. However, while faithful to the original tale, Takahata’s direction turns this historical fantasy into a heart-wrenching coming-of-age film as ethereal as the titular character. The film doesn’t focus on the crazy pursuit of her suitors; instead, we’re drawn to the simple experiences Kaguya herself is drawn to and wants more of, as she tries to balance her life with the societal expectations places on women. All of which is rendered through the film’s lush watercolored scenes of the blowing wind or the opening of plum blossoms.

Though the drag scene is alive and well today, Paris is Burning is an important reminder that it didn’t always used to be that way. Over the course of seven years, Director Jennie Livingston leads us underneath the crime-ridden streets of 80s New York, where a glittery drag subculture is flourishing, despite all odds. Leading the community are the so-called mothers, the best performers and most fashionable of them all, tasked with inspiring and caring for newcomers. Nevermind that they’re shunned by society and suffocated (sometimes literally) by hateful homophobes and racists; when there is a ball, all that matters is that they strut, dance, and put on the best damn show of their lives. What they do is art, and Livingston makes sure to exalt the craft and pride that goes into it. At the same time, intimate interviews with iconic queens like Pepper LaBeija and Willi Ninja reveal the heartbreaking nature of the community. Most, if not all, have endured some form of abuse, and many risk their lives to earn a decent living. But again, Livingston refuses to reduce them to pure tragedy; she gets them to share their wonderfully big dreams, then gets us to hope along with them that they might just come true.

A slow-burning Argentinian thriller about a retired legal counselor and the one case he investigated that just would not die, The Secret in Their Eyes is a taut and sharp mystery. As layers of mystery unfold, the story draws the viewer in and becomes entangled with the deteriorating political situation in Argentina. Notably, the film features a single-take 5 minute shot – a fantastic technical achievement and a testament to the directorial vision and skill.

The Station Agent is about loneliness, change and friendship. Sounds corny right? It’s not. The characters are developed, they have their own reasons for the choices they make and nothing feels forced, neither actions or conversations. It’s a small and wonderful movie about a little man that moves out of the city and his comfort zone when his only friend dies, moves to said friend’s old train station and sets his life there. From there on it follows his social interactions with a slew of people, the relationships he forms with them. Oh, and the little man? Peter Dinklage (Tyrion Lannister), who pulls off a great performance, albeit a quiet one.

This movie will punch, kick and slap the crap out of you. Something that will be hard to believe after you watch it – it is based on a true story. Filmed and set in the poverty-stricken favelas of Rio de Janeiro, it follows two young men who choose two opposite paths; one an aspiring drug leader and the other an aspiring photographer. City of God is their story; a movie filled with great performances (from mostly non-professionals), and an experience that is as compelling as it is adrenaline-inducing.

Called a masterpiece by many and featured on many best-of-the-21st-century lists, Director Wong Kar-wei has created a thing of singular beauty. Every frame is an artwork (painted, as it were, with help of cinematographer Christopher Doyle) in this meticulously and beautifully crafted film about the unrequited love of two people renting adjacent rooms in 1960s Hong Kong. These two people, played by Tony Leung and Maggie Cheung, struggle to stay true to their values rather than give in to their desires, while they both suspect their spouses of extramarital activities. The flawless acting, stunning visuals, and dream-like beauty of In the Mood for Love perfectly captures the melancholy of repressed emotions and unfulfilled love. The cello motif of Shigeru Umebayashi’s main theme will haunt you long after you finished watching.

How far would you go to help a friend? The answer to this question might turn out quite differently after you have lived through the 2-hour squalor of 4 Months, 3 Weeks and 2 Days. Set in the bleak late-1980s reality of Communist Romania, under the ironclad rule of Stalinist dictator Nicolae Ceaușescu, Anamaria Marinca and Laura Vasilu play Otilia and Gabriela, two small-town students. Otilia volunteers to help Gabriela go through with an illegal abortion, which takes place in a shoddy hotel room with the help of a man named Bebe (played by Vlad Ivanov). When things don’t go as planned, they find their situations quickly going from very bad to outright horrible. Powerful performances, a realistic script, and director Cristian Mungiu’s technical finesse create an experience that will force you to relive the desperation the two women must endure. Little wonder that it won the Palme d’Or at Cannes in 2007.

Written by actor-turned-screenwriter Taylor Sheridan (Sicario) and directed by David Mackenzie (who is responsible for the prison drama Starred up), this well-acted Western is one of the most captivating movies of 2016. Chris Pine and Ben Foster play two brothers, one cautious and out to better himself, the other, an ex-convict with an itchy trigger finger, whose family ranch is threatened by the local bank. Both set out to make a high-risk living of travelling and robbing that bank’s local branches. On the other side of town, grizzled Texas ranger Marcus, played by none other than Academy Award-winner Jeff Bridges, has one foot in retirement but is bent on solving their case. The film’s spectacular cinematography is reinforced by the brooding original music, composed by none other than Nick Cave and long-time collaborator Warren Ellis. It takes you on a journey that is as much about the two brothers’ violent upbringing as it is about the decaying towns they visit, making this modern-day crime western not only a great thriller but a tribute to the Texan way of life.

The 2016 outing of South-Korean auteur director Park Chan-wook (maker of Oldboy and Stoker) once again shifts attention to the dark side of what makes us human: betrayal, violence, and transgression. Based on the 2002 novel Fingersmith by British author Sarah Waters, The Handmaiden revolves around the love of two women and the greedy men around them. Park shifts the novel’s plot from Victorian London to 1930s Korea, where an orphaned pickpocket is used by a con man to defraud an old Japanese woman. Routinely called a masterpiece with comparisons made to the likes of Alfred Hitchcock, this is a stylish and meticulous psychological thriller that packs enough erotic tension to put a crack in your screen. If you love cinema, you can’t miss this movie. You might even have to watch it twice.

Living in the Material World tells the story of one of the most influential musicians of recent history, the “quiet Beatle” George Harrison. It is, in turn, told through the eyes of one of the most prominent filmmakers of recent history, the always amazing Martin Scorsese. Famous for his feature films, Scorsese has been a champion of documentary films and an avid maker of them. Drawing on archive footage, home movies, and many newly recorded interviews, including with Paul and Ringo, Eric Clapton, Phil Spector, and Terry Gilliam, he tells the complete story – and this is to be taken quite literally – of an indeed quiet, torn, and searching human being as well as an immensely talented, inspiring, and spiritual artist. This heart-felt and intimate 3.5-hour documentary is an awe-inspiring exploration of Harrison’s time with The Beatles as well as his subsequent solo career as a musician and as a philanthropist. In case you had your mind made up on who’s your favorite Beatle, Scorsese might make you rethink.

After his first serious role in The Truman Show in 1998, Jim Carrey got a shot at playing his idol, the late comedian and performance artist Andy Kaufmann, in Man on the Moon in 1999. When he got the role, a role of a lifetime, Carrey decided to honor Kaufmann’s legacy by transforming into him (and his alter ego Tony Clifton) and, in true method-acting fashion, never to leave character. Jim & Andy is the result of 100 hours of behind-the-scenes footage shot at the Man on the Moon set, which was withheld for 20 years over fears of Universal Studios that people would think Carrey was an a**hole. While Carrey was a complete and utter imposition to the film’s director, Miloš Forman, and everybody else on set, including Danny DeVito, his transformation (or obsession) was a unique, transformative experience for Carrey, who had been sick of fame and acting before he took on this gig. Whether you buy into this view or see it as a vanity piece of a complete maniac, this is one of the most unique and insane documentaries on Netflix. A mind-blowing portrayal of a complex mind.

While barely 90 minutes long, Cold War is epic in scope and a modern testament to what cinema can be. Whether we are feasting our eyes on the decaying post-war landscape of Poland, the patinated streets of East Berlin, or the delicate magic of a historic Paris, Cold War offers its viewers meticulously staged black-and-white beauty, conceived by Polish wunderkind director Paweł Pawlikowski and his trusted cinematographer Łukasz Ża. Winner of a slew of prestigious awards, this is a film made for the silver screen, so we recommend leaving your iPhone on the table and getting your hands on the biggest screen you can muster for watching this. The plot is essentially about the obsessive attraction between musician Wiktor (Tomasz Kot) and the young singer Zula (Joanna Kulig), who is recruited as the newest member of the former’s state-sponsored folk music band. Cold War follows their impossible love for fourteen years and across many European countries on each side of the Iron Curtain. It is a statement on how far artists go for their art, especially when they become constrained not only by dictatorship but also love. A poetic, sexy, and gorgeous movie without a wasted moment. A work of art.

Cure is about a mad society, where both cure and sickness might be one and the same. Director Kiyoshi Kurosawa subverts the police procedural into an interrogation without definite answers, an abstract study on the evil that resides and is suppressed in every person’s heart. Unlike most horror films, Cure’s scares are left in plain sight, hypnotically mesmerizing as they are gruesome, with a sense of mundanity associated with other Japanese masters like Ozu or Kore-eda. “At the time it just seemed the right thing to do,” a man answers when asked why he killed his wife, and it is this contradictorily calm, nonchalant demeanor that creates a feeling of unease in the film’s horror aesthetic.

David Lynch’s star-studded provocation Blue Velvet was both revered and criticised upon its release because of how heavily it leans on sexuality and violence to advance its plot, but today the film’s hailed as a contemporary masterpiece. Still, scenes with that kind of content are quite hard to stomach in combination with Isabella Rossellini’s depiction of an unstable, delicate singer named Dorothy. But Dorothy is surely not in Kansas anymore… It takes a young college student (Jeffrey Beaumont played by Kyle McLachlan) who becomes fascinated with her as part of his self-appointed detective quest, to uncover deep-rooted conspiracies. In his endeavours, Jeffrey is joined by butter blonde Sandy (Laura Dern), and the twisted love triangle they form with Dorothy in the middle is one for the ages. Dennis Hooper stars as one of the most terrifying men on screen and Lynch regular Angelo Badalamenti scores the film with an eerie precision like no other. 

Thirty years after its release, the first ever Chinese language Palme d’Or winner has finally been made more accessible through Criterion Channel through its uncut 4K restoration. Farewell My Concubine is one of those classical epics that is considered essential viewing, but even with its near 3 hour runtime, the film still holds up all these decades later with its startlingly heartrending love story and depiction of the tumultuous shifts of 20th century China. Director Chen Kaige masterfully balances both sides, tapping into the pain Dieyi (Leslie Chung) chooses as he clings to the classical opera, the very art form that allows him a sliver of his unrequited love to be realized, but that is also limited depending on whichever government is in charge at the moment. It’s possibly one of the most beautiful and most miserable films ever made.

As in his previous films, Director Andrew Haigh explores the delicate nature of loneliness, grief, and love in All of Us Strangers, except this time he does so through a supernatural lens. The result is mesmerizing: amid the tenderness the film draws from its characters, there’s a swirl of mystery too: how is it possible that Adam is conversing with his dead parents? Who, exactly, is Harry? The intrigue is there, and Haigh builds to a satisfying climax that answers all these questions. The mystery also lends the film an ethereal style that makes it visually resemble a horror or thriller more than it does a romance or drama. But as superb as it looks and as compelling as the ambiguity is, they never distract from the film’s central goal, which is to bring us into the complex emotional journey Adam goes through as he simultaneously develops a relationship with Harry and parses his childhood trauma with his parents. It’s a hefty film, filled with big emotional moments that will have you crying, smiling, longing, and healing all at the same time. And like any good film, it will haunt you for days on end.

Memento is a right of passage movie – the kind of movie 19 year olds watch and decide, “holy hell, cinema is cool.” Call it the most cinematic mainstream film or the most mainstream serious film of the last 20 years, Memento also marks the beginning of the reign of Christopher Nolan. A deep and gripping meditation on forgetting helmed by a technical virtuoso, Memento is a puzzling emotional trip.

Mary and Max is the tale of an overlooked 8-year-old girl from Australia starting an unlikely friendship via mail with a middle-aged Jewish man from New York. Shot completely in monocromatic claymotion, it is the first feature film by Australian stop-motion animation writer, Adam Elliot, and the first ever animated film to score the opening slot at Sundance Festival. In all its playful absurdity, Mary and Max is an emotional and wise gem of a film that examines the human condition through the eyes of a troubled child and an autistic American. In contrast to its clay-based animation, it deals with some pretty dark and adult themes, but succeeds in balancing those with happiness and absurd humor. Moreover, Elliott gathered an ensemble cast to do the voice-overs, which includes Philip Seymour Hoffman, Toni Collette, and Eric Bana. We recommend it 8 condensed milks out of 10.

First-time filmmaker Dave Grohl captures nothing less than the full spirit of a place which would otherwise appear as a dump. The spirit of Sound City Studios was fostered by Rock-And-Roll greats such as Neil Young, Fleetwood Mac, Metallica, Tom Petty, Rick Springfield, Nirvana and many others. In this regard, sound City is a fascinating display of Rock history, from the major talents of the era to how the industry has changed over the years. However it is more than just a well made documentary; its story is a very entertaining thing to watch, and the way it portrays characters is both sweet and intimate. Dave Grohl’s creation resembles in many ways the F1 documentary, Senna. You do not need to be a fan of their themes or have much knowledge around them to appreciate what tremendous and enjoyable pieces of film-making these movies are.

Told through a series of flashbacks and personal archival footage, Beginners gives us the story of Oliver (Ewan McGregor), a 38-year-old graphic designer from Los Angeles, and his two parents across three timeframes. Oliver has never had a meaningful relationship. Six months after his mother dies, his father, Hal, played by the amazing, Academy Award-winning, and, sadly, late Christopher Plummer, comes out to Oliver. He lives the last days of his life in liberation and, well, gaiety, before protracting terminal cancer. Some months later, Oliver meets Anna at a party, a young French actress (Mélanie Laurent) who is beautiful and warm-hearted, and they start an affair. Through this all, there’s Arthur, a Parson Jack Russell. But don’t worry. He doesn’t talk. Beginners is a beautiful and intricate film about finding love and happiness. It’s funny, warm, and sincere. A beautiful movie.

Bittersweet like Belgian chocolate, this is a coming-home movie. It will leave you raw and empty as well as full of life, and it will most certainly have you appreciate the mournfulness of bluegrass music. Based on a play co-written by Johan Heldenbergh, who also stars as Didier, the male lead, this is intricately written, thoughtfully directed, viscerally acted cinema. Bluegrass enthusiast and band leader Didier falls passionately in love with Elise, a spirited tattoo artist. They sing together, start a life together. But when their little girl falls gravely ill, everything changes. Because this gem of a film by director Felix van Groeningen excels at creating intimacy and empathy between us viewers and this beautiful family’s fate, you will feel everything you see. Incredibly well-made and gut-wrenching drama.

A follow-up/companion piece to the award-winning The Act of Killing, The Look of Silence is another compelling documentary from Director Joshua Oppenheimer. Both films aim attention at the Indonesian Genocide of 1965-66, when the military government systematically purged up to one million communists. While the first film’s focus was on the culprits and on providing facts, the second one lets us meet the victims. One victim in particular: a soft-spoken optician named Adi Rukun, who meets with various members of the death squad who murdered his elder brother Ramli, under the guise of giving them an eye test. As he questions them about the killings, the murderers, again, show little remorse and eagerly provide the lurid details to the many executions. It’s a stunning and provocative look at the legacy of historical mass killings, along with the insidious propaganda that provokes them, and continues to justify them to younger generations. A testament to the power of cinema to remember the forgotten.

Directed by David Cronenberg, Eastern Promises is at times brutal—such is the famous Canadian director’s trademark—and operates at a fever pitch of grim violence and revenge. Starring a tattooed, ruthless, and terrifying Viggo Mortensen as a very convincing Russian strong-arm gangster as well as Naomi Watts and Vincent Cassel, it features intense psychological drama and a gritty crime story. Midwife Anna (Watts) delivers the baby of a 14-year-old Russian prostitute, who dies while giving birth, and later learns that she was forced into prostitution by the Mafia. To keep this knowledge from seeping out, she gets entangled deeper into London’s criminal underbelly, whose various factions and languages are aptly showcased by Cronenberg. Add to all this a smart script and Mortensen’s daring performance and you have yourself an intense auteur thriller in signature Cronenberg style.

Told in urgent fashion with first-hand accounts from cyber professionals from around the globe, Zero Days is a fascinating and alarming documentary about the Stuxnet computer virus. Originally codenamed “Olympic Games” by the people that fathered the worm, Stuxnet is a virus in the true sense of the word. It not only maliciously feeds off the host, but it also replicates itself as soon as it is implanted, which is exactly what it did when it was used by the US and Israeli secret services to sabotage centrifuges inside Iran’s Natanz nuclear plant—making them spin out of control. All this is brilliantly unpacked by renowned documentary maker Alex Gibney (Going Clear, Enron: The Smartest Guys in the Room), who manages not only to detail the complexities of advanced coding in a remarkably evocative manner, but also to send out a well-researched alarm call about the future of war. Ultimately, the message here is that cyber warfare is very much part of our new shared reality. This film deserves to be seen by anyone who is even remotely concerned about global security in the 21st century.

Being an intimate, black-and-white portrayal of just two people, it is worth mentioning the two leads in the very first sentence: Blue Jay stars the incredibly versatile Sarah Paulson, who most of you will know from her depiction of Marcia Clark in The People vs. O.J., and Mark Duplass from Creep. In this incredibly intricate dialogue-driven drama, he is of course named Jim, a regular guy with some issues, who runs into his high-school sweetheart Amanda at the grocery store. She is only in town briefly because her sister is having a baby. Amanda agrees to have coffee with him, later they get beer and jellybeans, and find themselves recreating silly tapes at his late mother’s house that they use to make when they were still at school. This could quickly become a soppy affair if it wasn’t for the heart-felt realness of the acting, for lack of a better term, and all the fine details that the two leads bring to the screen. The chemistry between them is something to behold!

One of the most relevant movies to come out in the past years, Moonlight is a celebration of onscreen aesthetics and delicate screenwriting, acting and directing. In the poorer area of Miami, snippets of the life of a gay African-American man are shown in three different ages, states, and attitudes. Throughout the movie, and as you witness him progress and regress, you become almost enchanted by what is happening in front of you. You find yourself in a state of understanding and not understanding, of thinking you know what’s going to happen in the next scene, but also of having no idea of what is to follow. Winner of the Best Picture Oscar, Best Supporting Actor (for Mahershala Ali who plays one of the main character’s early role models), and Best Adapted Screenplay.

Echoing Arthur Miller’s Death of a Salesmen, Oscar-winning writer-director Asghar Farhadi (A Separation, About Elly) tells the story of a loving middle-class couple who live in Tehran, Emad (Shahab Hosseini) and Rana (Taraneh Alidoosti), who are forced to move out of their apartment. After arriving at their new place, violence erupts, upending their life and straining their previously happy relationship. Farhadi does what he does best here, delivering simmering tension, complex realism, and unaltered emotion. Originally titled Forushande, every scene of The Salesman is a privileged look for Western viewers into Iran’s collective consciousness. And even with all that aside, the film still stands out as an extraordinary drama with a tense plot and outstanding performances across the board. Another incredible addition to Farhadi’s first-class filmography.

There are many movies by the much-celebrated Japanese auteur director Hirokazu Koreeda on A Good Movie to Watch. Why? Because, like all the movies we showcase here, his work is often little-known, but unbelievably good. After the Storm is no different. Much like his other works, notably Like Father, Like Son, Shoplifters, and Nobody Knows, it deals with the topic of family dynamics, regret, and disappointment. But his movies are never dramatic downers but delicate dioramas, understated in tone. Once a successful writer, Ryota (Hiroshi Abe) is now a private detective who spends the little money he makes on gambling instead of paying child support. His ex-wife and son are increasingly alienated by his behavior until one day, during a storm, they all find themselves trapped in Ryota’s childhood home. Subtly touching on notions of inter-generational bond and tension –⁠ Koreeda’s works are mesmerizing and stick with you long after you’ve finished watching.

On Body and Soul is the impeccably crafted winner of the 2017 Berlin Film Festival and an Academy Award nominee for Best Foreign Language Film. Is it possible that two people dream the same dream? And meet each other in that same dream? This unique drama directed by Hungarian filmmaker Ildikó Enyedi studies this possibility against the unlikely backdrop of a slaughterhouse. Middle-aged, inconspicuous manager Endre (Géza Morcsányi) can’t help but noticing a new girl at work, Maria (Alexandra Borbély), the abattoir’s new hygiene manager. They fall in love, but not, as you might suspect, during a fateful mandatory hygiene inspection, but in their dreams—in the shape of two deer in a mysterious, snow-covered forest. The Hungarian director had taken an 18-year break from making movies, which was probably the prerequisite for making something as striking and unconventional as On Body and Soul.

You might call Francis Lee’s spellbinding debut a Call me By Your Name without the privilege and pretentiousness, and we think it’s a better movie because of it. God’s Own Country tells the story of Johnny Saxby (Josh O’Connor), a farmer’s son who is trapped working on the family farm, who dulls his frustration and misery with binging at the pub and aggressive sex with strange men—his true desire is not so much repressed by society’s rampant homophobia here, but by his family’s emotional callousness. When his strict and icy father suffers a stroke, things get worse for him still. Then, during lambing season, help arrives in the shape of watchful, radiant, and strikingly handsome Romanian seasonal worker, Gheorghe (Alec Secareanu), whose warmth of character and professional competence feels threatening to Johnny at first. But when they withdraw to the hills to repair a stone wall, Johnny’s aggression gives way to passion as Gheorghe helps him to feel, to love, and to see beauty in the country around him. God’s own country. A beautiful, stirring, and passionate debut!

Do today’s political talk shows often feel like meek, scripted, and predictable affairs to you? Would you rather have that euphoric feeling you get when watching someone smart and eloquent talk about important ideas? Multiply that by two and you get Best of Enemies. In 1968, ABC covered the Republican National Convention in Miami Beach and the historic Democratic National Convention in Chicago by airing a 10-part series of nationally televised debates between two ideologically opposed and sharp-minded public intellectuals: Gore Vidal and William F. Buckley. The former was an ardent and openly bisexual liberal and progressive. The latter an elitist cultural conservative, whose magazine, National Review, vowed to always support the most far-right candidate viable for office. This confrontational set-up is not only credited with ushering in an era of pundit politics, but also with producing some of the most entertaining intellectual debate ever to be seen on TV. When’s the last time you saw anybody unironically being called a “crypto-Nazi” on national television?

The title of this 2018 Palme D’or winner is not to be taken metaphorically: Shoplifters is about a marginalized family of day workers, crooks, and small-time outlaws, who live on the fringes of Japanese society. Osamu (Lily Franky) and Nobuyo (Sakura Andô) both have jobs but spruce up their low-wage income by committing petty crimes. One day in winter, Osamu takes in a bruised girl he finds outside in the cold and introduces her to the family in his ramshackle house. But when the second-youngest member of the family, Shota (Kairi Jyo), finds himself teaching her how to shoplift, he faces a moral dilemma that threatens to unravel the family’s fabric. If you were hitherto unfamiliar with the unique storytelling and social realism of Hirokazu Koreeda, we really recommend checking it out—as well as his other movies, namely, Still Walking, Like Father, Like Son, I Wish, and After the Storm. His 2018 outing features the last ever performance of Kirin Kiki, who plays the elderly matriarch and passed away that same year. Like many of Koreeda’s works, Shoplifters is an understated, beautiful, and mysterious study of the effects of poverty and trauma and a delicate portrait of a family in Japan’s urban underbelly.

Many things clash in this beautifully layered, semi-autobiographical film of American director Lulu Wang: cultures, morals, and emotions. The result is a type of comedy that is complex and bittersweet⁠—and based on a true lie: this is the story of a Chinese grandma whose family won’t tell her that she is fatally ill. Instead, they organize a fake wedding in China, where everyone gets together to bid a farewell to the unwitting matriarch (played by Zhao Shuzhen). The fake wedding is, in fact, a premature funeral for a person unaware that she is going to die. Played by rapper and comedian Awkwafina, Billi, a New-York-based Chinese-American with a complicated relationship to China, embodies the cultural and moral question at the heart of this story: is it right or wrong not tell grandma? It is thanks to Wang’s deft writing and Awkwafina’s outstanding performance that The Farewell homes in on answers without ever being melodramatic. Warm, honest, and beautiful.

The British social-critical director of I, Daniel Blake and The Wind That Shakes the Barley, Ken Loach, delivers another scathing indictment of our economic system, the slashing of worker protection, and the gig economy. While these are indeed the themes of this affecting drama, Loach always makes it about the people. In this case, a struggling family man who tries to turn his life around by working in package delivery. Gig economy workers are usually freelancers who own their trucks and are made fully responsible for packages until they reach their respective recipients. From peeing in a bottle to save time to seamless monitoring by an overlord hand-held device, Sorry We Missed You manages to capture the indignity and gives you an intimate introduction to the human cost of having everything delivered to your doorstep at a moment’s notice. Thanks to Loach’s use of amateur actors, it has a raw and real feel to it without being melodramatic. Sorry We Missed You makes sure that the habitually unseen take center stage.

Ahmed plays Ruben Stone, a heavy metal drummer, who plays in a band and lives in a tour bus with his girlfriend Lou (Olivia Cooke). Quickly after meeting the couple, we witness the touring musician drastically losing his hearing. As recovering addicts with little financial means, they soon run out of options. Lou desperately wants to prevent Ruben’s relapse into addiction and so she helps him retreat to a deaf community group home, run by the illustrious Joe, a truly amazing character played by the equally amazing Paul Raci, himself the hearing son of deaf parents. There is something deeper going on though: the question of what disability is, and how, despite how it drastically changes Ruben’s life, it might not be his biggest problem. In addition to the stellar acting and delicate writing, we experience his condition through the incredible sound design used by director Darius Marder, complete with muffled conversations, garbled noises, and piercing silence. This is a movie to be taken in completely. Above all, it’s about Riz Ahmed’s performance. He learned to play drums, sign language, and studied deafness ahead of the shooting, and he does not strike a wrong note.

Wong Kar-wai’s dreamlike masterpiece is a perfect portrayal of the wilderness of a city at night. A hitman trying to get his job done, a woman hunting the prostitute who stole her boyfriend, and a mute who loves his father’s cooking: each of the characters in Fallen Angels is eccentric and interesting in their own way. Along the watch, you may find yourself overwhelmed by all the events taking place as each character fights to stay alive and satisfy their desire, but this is exactly where the beauty lies. A hazy view of Hong Kong is the backdrop for the characters’ riveting stories, blending loneliness, lust, as well as missed opportunities. Fallen Angels is a remarkably balanced film that not only exposes the coldness of people in the city, but also their warmth.

Fire of Love is a documentary that follows Maurice and Katia Krafft, a scientist couple who’ve dedicated their entire professional lives to studying (and marveling at) volcanoes. The two met at university and have been inseparable ever since, chasing explosions around the world until their death at the Mount Unzen eruption in 1991.

The fiery passion the title refers to is as much about Maurice and Katia as it is about their dedication to volcanoes. Like any love story, it tracks how they were first wonderstruck by the formation and how that awe shaped their lives and led them to each other, as well as how they came to discover hard truths about it and dealt with the heartbreak that soon followed.

Combining the breathtaking footage the couple left behind with lovely writing and artful animation, director Sara Dosa creates a moving documentary about passion, adventure, and the world itself.

A masterpiece of social critique. The acting and directing are flawless. An Andrey Zvyagintsev film, it tells the story of a kid who disappears in the midst of his parents going through a divorce. Zvyagintsev is not subtle about anything here, his movie is incredibly purpose-driven and as such it is a sad and accurate depiction of a decaying marriage or a marriage that should have never happened. Eventually, and using the plot as a vehicle, it becomes a criticism of the current state of the Russian middle-class and society in general. An important and devastating character study.  

This Oscar winning documentary is no standard film. Even by being beautifully crafted and having an amazing soundtrack–soundtracks are important–it does not miss its core story for a second. A delivery so good and so crisp that it will make you go “the sons of b” and “those motherf” more times than Joey from Friends got laid in 1999. On a more serious note, Inside Job is a great and complete technical overview of the financial meltdown. I know the word “technical” scared you there, but it shouldn’t! The movie is simple, uses charts and colors for all of us who once thought figures and formulas were too complicated to understand — it even makes you go, “hey, this is not so difficult to understand. Them motherf.’ The movie is also very exciting: no spoilers but all I can say is that there are b*s trippin in there.

One of those movies which are actually good for your education; think of it as a book you can read in two hours. It is, however, a very well-cast and well-filmed book. Hotel Rwanda is brutal and disturbing, which is only reasonable since it tells the story of one of the most horrific times in recent history. Led by an astonishing performance from Don Cheadle, it is overwhelmingly sad but an absolute must-watch.

From Korean director Park Chan-wook, who also brought you the far quieter The Handmaiden, comes a movie that is positively terrifying. Its premise alone is enough for any sentient human being to shudder. On his daughter’s birthday, the good-for-nothing Oh Dae-su (played by Choic Min-sik) gets drunk and is arrested by the police. A friend eventually bails him out and, while he is making a phone call, Oh Dae-su disappears. Not knowing why, he is held in the same room for 15 years for no apparent reason. Until, one day, he is released. That’s all that can be revealed about this winner of the Grand Jury Prize at Cannes in 2004 without giving away too much. All we can add here is the way we recommend Oldboy to people admitting to not having seen it yet: “Watch Oldboy. You’re welcome. We’re sorry.” A crazy, twisted film that goes to extremes. A cult classic and a statement.

A 42 minute musical super-villain tragicomedy blog. How much stranger can a movie’s description be? Dr. Horrible (Neil Patrick Harris) is an aspiring super-villain hoping to get into the infamous Evil League of Evil (ruled with an iron hoof by the terrible Bad Horse). His plan is complicated when he accidentally introduces his nemesis, the incredibly vain Captain Hammer (Nathan Fillion), to the girl he has a crush on (Felicia Day). Released for free online after the writers strike of 2008, Dr. Horrible is funny, well-made, and not devoid of meaning. Joss Whedon (The Avengers, Firefly, Buffy the Vampire Slayer), two brothers, a sister-in-law, and their actor friends had loads of fun making it, and it’s loads of fun to watch. Also, it won an Emmy.

What happens when Banksy, one of the most famous ambassadors of street art, meets Mr. Brainwash, an egocentric aspiring French artist? Well, one of the funniest, interesting and exciting documentaries ever made about art, commercialism and the apparent gulf between them. But is it really a documentary? This confident and zany film will leave you guessing.

More simply called La Vie d’Adèle in its native language, this French coming-of-age movie was hugely successful when it came out and was probably one of the most talked-about films of the time. On the one hand, the usual puritans came to the fore, criticizing the lengthy and graphic sex scenes. On the other hand, Julie Maroh, who wrote the source material that inspired the script, denounced Franco-Tunisian filmmaker Abdellatif Kechiche for directing with his d*ck, if you don’t mind me saying so, while also being an on-set tyrant. Whatever you make of this in hindsight, the only way to know is to watch this powerfully acted drama about the titular Adèle (Adèle Exarchopoulos), and her infatuation with Emma, a free-spirited girl with blue hair, played by Léa Seydoux. The film beautifully and realistically portrays Adele’s evolution from a teenage high-school girl to a grown, confident woman. As their relationship matures, so does Adèle, and she slowly begins to outgrow her sexual and philosophical mentor. Whatever your final verdict on the controversial sex scene, Blue Is the Warmest Color is without doubt an outstanding film as are the performances from Exarchopoulos and Séydoux.

The Sanskrit word Samsara refers to the wheel of life and roughly translates to “continuous flow”. And, indeed, Samsara takes us on an entrancing journey, chronicling the never-ending cycle of birth, life, death, and re-birth that life, big and small, goes through—at least according to the religions that were born on the Indian continent. Shot on 70mm film and utilizing computerized camera movements as well as time-lapse photography, this film by American director Ron Fricke delivers absolutely breath-taking visuals. Whether it’s awe-inspiring vastness or the close-up of a human face, its narration-less narrative integrates every aspect of human and natural life regardless of scale or location. The scope of this effort is truly awe-inspiring and the clarity of it has to be seen to be believed. An unusual and magical film!

This is the ridiculously entertaining story of an everyman nice guy and his quest to get his Donkey Kong world record recognized by the powers that prevail. His is thwarted at every turn by a nemesis so absurdly cliched that if he was a fictional character he would not be believable. An interest in video games is not at all required because this is actually a story about the the eternal epic struggle between good and evil, and believe me, hilarity ensues. Arguably among the greatest docs of all time.

When asked about this film, Quentin Tarantino goes so far as to say, “If there’s any movie that’s been made since I’ve been making movies that I wish I had made, it’s that one.” Kinji Fukasaku’s cult classic follows an alternative reality set in Japan, where a random high school class is forced onto a remote island to fight to the death. While it does follow the quintessential ‘only one shall leave’ scenario (complete with over-the-top, almost comedic murder scenes), the raw emotion and character depth cuts far deeper than traditional action thrillers. The film will leave you out of breath but still satisfied with how the narrative plays out.

A very poetic film by Tony Kaye (American History X) about an English Literature teacher (Adrien Brody – “The Pianist”) who only works as a substitute in schools which are located in very poor urban areas. The reason behind his choice is that he doesn’t want to bond too much with his students and colleagues because he is trying to control his dark emotions about life and the triviality of our existences (although it sounds depressing it is absolutely not). He also takes care of his last family connection, his grandfather, to whom he is very close and who lives in an elderly home. Unsurprisingly, their relationship is very emotional and deep. Every time you think about your existence, your place in the world, your interactions with other people; watch Detachment.

From the legendary Hayao Miyazaki, and courtesy of Studio Ghibli, which also brought you Spirited Away, comes this epic whirlwind of a story. Set during a fantastical late Muromachi period, the medieval era of Japan, in a time when many humans were still living among nature, while others set out to conquer and tame it, the movie follows a young man named Ashitaka, who he seeks cure for the curse of a boar god, giving him superhuman powers but eventually killing him. He rides west on a fantastic beast, where he eventually sees a young woman named San, also known as Princess Mononoke. What unfolds from here, is an epic tale of mythical war on many fronts, between the nature gods and humans. While this may sound like a dichotomy, it never is that morally simplistic. The story is action-packed and fast-paced, drawing freely from Japanese mythology as well as modern hot-topic political issues. Add to this the fantastic visuals: Hayao Miyazaki uses a mixture of hand drawings and 3D rendering that are nothing short of spectacular. In short, Princess Mononoke is movie history. If you haven’t seen it yet, do it now.

In a world where mortality has been overcome, people watch in awe as the as the 118-year-old Nemo Nobody, the last mortal on Earth, nears his end. He is interviewed about his life, recounting it at three points in time: as a 9-year-old after his parents divorced, when he first fell in love at 15, and as an adult at 34. The three stories seemingly contradict each other. Utilizing non-linear cinematography, Belgian director Jaco Van Dormael presents each of these branching pathways as a version of what could have been. The result is a complex, entangled narrative. That and the movie’s ensemble cast, featuring Jared Leto, Sarah Polley, and Diane Kruger, have turned Mr. Nobody into a cult classic. The soundtrack, featuring several of the beautifully restrained music by Eric Satie, is also considered a masterpiece. While it is surely not for everybody, this is trippy, intimate, and existential sci-fi at its best.

Joshua Oppenheimer’s daring feat is a documentary unlike anything ever done. Despite it being one of the most difficult things to watch for any human being (or because of it), The Act of Killing received praise across the board, including an Academy Award nomination. Without Oppenheimer’s efforts, you might have never heard of the unspeakable events that happened when, in 1965-66, Suharto overthrew the then-president of Indonesia and a gangster-led death squad killed almost a million people. Did they pay for their crimes? Quite the contrary: said gangsters went on becoming political mainstays in modern-day Indonesia, are still now heralded as heroes, and admit to all these crimes with a smile and not a hint of regret. The gruesome twist of this documentary is that Oppenheimer asks them to re-enact the killings in surreal, sadistic snuff movies inspired by the murderer’s favorite action movies. You are forced to stand idly by as they re-create brutal mass murder and joke about raping a 14-year-old. However, somewhere amidst this terrifying farce, the killers, too, have fleeting moments of realization that what they’re doing is wrong. If you make it through this in one piece, try watching its more victim-focused follow-up The Look of Silence. Bone-chilling but very powerful stuff.

Having only made its way to the US six long years after its initial release, this is the long-awaited film from the Oscar-winning director of A Separation—Asghar Farhadi. First off, for full disclosure, Farhadi does not miss and we here at A Good Movie to Watch are unabashed fans of his. At the heart of his fourth film lies a haunting mystery. A group of old friends and relatives reunite for vacation in Northern Iran with one of them bringing Elly to the group, intent on introducing her to her friend Ahmad, a divorcee visiting from Germany. It looks like everything would work out as planned when, suddenly, Elly has vanished. In the habitual Farhadi style, the unfolding mystery and poignant questions about gender and politics are helped along by a subtle script, delicate directing, and on-point performances, including from one of the most well-known Iranian actors of today, Golshifteh Farahani. In addition to being an enthralling watch, it will let you catch a glimpse of the delicate balance struck by middle-class, modern-day Iranians, caught between their own expectations and those of society and tradition.

In 2009, Departures surprised everybody by winning the Academy Award for Best Foreign Language Film, instead of everyone’s favourite, Ari Folman’s Waltz of Bashir. This is even more surprising since this Japanese comedy almost never saw the light of day because many distributors refused to release it at first for its humorous treatment of a very human, but weirdly taboo subject: what happens when you die. Daigo Kobayashi (played by former boyband member Masahiro Motoki) just bought an expensive cello when he learns that his Tokyo-based symphony orchestra is going bankrupt. Daigo and his wife Mika, played by Ryôko Hirosue, decide to move back to his hometown, where he applies for an opening at what he thinks is a travel agency, hence the departures. You might have guessed by now that what he was applying for was, in fact, the job of an undertaker—a profession considered unclean in Japan. It’s one of those rare movies that will make you laugh, to making you cry, and laugh again. It’s dead-on!

Orlando von Einsiedel’s epic documentary is at once a stunning natural film, an intimate human drama, and an intense political thriller slash investigative report. The titular Virunga National Park, a UNESCO world heritage site in Eastern Congo, serves as the magnifying glass through which we witness the natural, human, and political crisis of this embattled and volatile region. There are poachers killing endangered gorillas, the bloody business of Big Oil companies, government forces fighting a myriad of militias, and, lastly, the three individuals struggling to protect Virunga and its mountain gorillas from death and destruction. The result is a snap-crackle-pop-type situation, like sitting on a powder keg. The film captures all this superbly with great editing, compelling real-life material, and gripping action. Virunga’s intensity can rival a well-made fictional thriller any day of the week.

Ex Machina is the directorial debut of Alex Garland, the writer of 28 Days Later (and 28 Weeks Later). It tells the story of Caleb (Domhnall Gleeson from About Time), an IT developer who is invited by a billionaire CEO to participate in a groundbreaking experiment—administering a Turing test to a humanoid robot called Ava (Alicia Vikander). Meeting the robot with feelings of superiority at first, questions of trust and ethics soon collide with the protagonist’s personal views. While this dazzling film does not rely on them, the visual effects and the overall look-feel of Ex Machina are absolutely stunning and were rightly picked for an Academy Award. They make Ex Machina feel just as casually futuristic as the equally stylish Her and, like Joaquin Phoenix, Gleeson aka Caleb must confront the feelings he develops towards a machine, despite his full awareness that ‘she’ is just that. This is possibly as close to Kubrick as anyone got in the 21st century. Ex Machina is clever, thrilling, and packed with engaging ideas.

From the producers of The Kids Are Alright comes another excellent family drama starring Juliane Moore. She plays a hot-headed rock singer who battles her divorced husband, a narcissistic art dealer, expertly played by the unlikely Steeve Coogan, for custody of her daughter Maisie. When one of them marries the girl’s nanny, the other rushes into marriage as well. Based on Henry James’ titular novel from 1897, it tells the story of a quiet, sensitive young girl coping with being used as a pawn by egotistical parents who spite each other. It is sometimes hard to watch the girl get caught up in all this but the young actress playing Maisie, Onata Aprile, plays the part brilliantly. The screenplay adaption of the ahead-of-its-time material of the book by Nancy Doyne and Carroll Cartwright also hits every note with passion. A harrowing but powerful film.

Directed by celebrated artist-turned-filmmaker Julian Schnabel, who won an award in Cannes for it, The Diving Bell and the Butterfly is the true story of the Parisian journalist and fashion editor Jean-Dominique Bauby (Mathieu Amalric), who suffered a devastating stroke at the age of 43. Paralyzed almost completely by what is termed locked-in syndrome, his left eye was the only part of his body that he was still able to move. In a Herculean effort, Bauby learned to blink in an alphabet code that eventually enabled him to communicate. The film alternates between Bauby’s interaction with his visitors and caretakers (including painstakingly dictating his memoir, the titular Le Scaphandre et le Papillon) and dream-like fantasies and memories of his life prior to paralysis. The title alludes to this juxtaposition: the diving bell representing his final state of isolation, akin to a deep-sea diver under a bell, and the butterfly as a symbol for his blinking eye and the freedom he has in his mind, dreams, and imagination. Shot from Bauby’s perspective, we see what he sees. Be it his divorced but loyal wife and his family visiting him, or his old father, played by Max von Sydow, which is probably the scene in this fascinating movie that will make you lose it and weep like the rest of us.

If you’re living alone and just came back home from a bad day, Wolf Children can make you feel like everything’s alright. It’s the kind of movie that feels like a warm hug and one that you will likely bookmark to get back to for this exact reason. Co-written and directed by Mamoru Hosoda, who’s most known for The Girl Who Leaps Through Time, the title is to be taken without any salt: it tells the, allegedly true, story of a woman raising children who are half-human and half-wolf. It all starts with Yuki studying at Tokyo University, where she meets a mysterious and handsome young man, who can turn into a wolf at will. They fall in love and have children inheriting this strange skill. This is where the colorful visuals and life-affirming vibe of this anime give way to a bleak narrative turn. Wolf Children is a strange story of love and parenting told in an imitable style.

Orcas killing people? Saving whales? There was indeed a time when these issues were frontpage news and that might be the reason why this sounds like a 90s cliché to you. You might agree that this issue should be staunchly dealt with once you’ve watched Gabriela Cowperthwaite’s 2013 documentary. Orcas still being held captive by marine parks like SeaWorld to perform stunts and to parade around swimming pools to entertain ticket-buying families. Blackfish is the story of one of them in particular: a bull Orca named Tilikum, who has killed several people as a result of their immoral imprisonment. Similar incidents tend to be covered up by the parks’ operators and management. They are, however, attributable to the fact that the animals are quiet simply driven mad by the unnatural conditions they are subjected to. They are not born as killers, they are turned into them. First-hand accounts by former whale trainers and experts deliver fascinating truths about Tilikum and the species as whole, elaborating on their remarkable intelligence and social behaviors. For those unaware of this, this passionate documentary makes for a chilling watch.

You know you’re in for a treat when you see Julia Louis-Dreyfus and James Gandolfini heading the cast of a sweet and slightly goofy comedy. Steadily going beyond his persona in The Sopranos, you see James Gandolfini playing a role that his fans have probably always imagined him playing: a nice, funny guy with an endearing personality. Directed by Nicole Holofcener, Enough Said almost has a sit-com feel to it: a divorced single parent and masseuse, Eva (Louis-Dreyfus), is looked up by a guy, she briefly met at a party, Albert (Gandolfini). Upon finding out they have much in common, the two start dating. At the same time, she meets Marianne (Catherine Keener), who she becomes friends with and who cannot stop talking ill of her apparently awful ex-husband. You guessed it: it’s her new, promising date, Albert. Things get muddy and very funny as she starts to doubt, whether she has made a big mistake. Hilarious, romantic, and smart, it’s very much like we expected: a real treat.

Koreeda’s troubled childhood often serves as the inspiration for his poignant Japanese dramas that deal with loss, the meaning of being a child, and of being parent. In Like Father, Like Son, Ryota Nonomiya (Masaharu Fukuyama), a hard-working architect, who is married to his work, comes home from work. He receives a call from the hospital where his son Keita was born and learns that he was switched at birth with their biological son Ryūsei. His wife and him are not only faced with the prospect of having to switch the two six-year-olds back, but also with the rickety family his ‘real’ son grew up in—and his aversion to what they stand for. But who is real and who isn’t? Must they be switched back? The age-old question of nature vs. nurture and the relationship of love and biology is at the heart of the parent’s struggle. As always with Koreeda’s works, the result is soft-spoken, sensitive, and symphonically directed. Winner of the Jury Prize at Cannes.