Amazon Prime Suggestions

It’s always fun to watch something that makes you second guess each move, that shifts seamlessly from one thing to another. Frantz is that kind of film, and as the deceptively simple premise unfolds—a widow befriends her late husband’s friend—you’re never really sure if what you’re watching is a romance, a mystery, or a sly combination of both. 

It helps that Frantz is also more than just a period piece, packed as it is with tiny but thoughtful details. When it is filled with color, for example, it does so in the muted palette of 1900s portraits, making each shot look like a picture come to life. When it talks about love, it goes beyond heterosexual norms and hints at something more potent and, at times, political. And when it takes a swing at melodrama, its actors ground the moment with enough restraint and reserve so that it never teeters on excess. All this results in a well-executed, gripping, and overall lovely film to watch.

Celebrated Iranian director Asghar Farhadi’s latest movie is about Rahim, a man who is in jail because he was unable to repay a debt. He gets a temporary release from prison, and with a big smile on his face, he leaves his confinement with a plan not to come back.

His secret girlfriend hands him a pack of gold coins, which they plan to sell to repay the creditor. But, as is custom with Farhadi’s movies, the center of the story is a moral dilemma that comes from one of the characters trying to be a good person. The gold coins are not Rahim’s or his girlfriend’s, but it's life-changing for both of them. 

Selected as Iran's official submission to the Oscars. 

Antoneta Kastrati’s debut feature film Zana follows Lume, who appears guarded and subdued as she goes about her daily routine: milking the cows, harvesting crops and flowers, hanging laundry out to dry. Part of Lume’s routine also includes visits to the doctor, accompanied by her mother-in-law and husband, who pressure her to conceive.

When conventional medical advice does not yield a viable pregnancy, Lume is brought to a witch doctor, and later a televangelist. The former suggests Lume may be cursed, while the latter insists she is possessed by a supernatural creature called a jinn. Lume appears largely apathetic, at least outwardly. But slowly, she starts to unravel—and with her undoing comes the reveal of the war that traumatized her. 

Kastrati’s family drama has elements of horror, but the real terror here is psychological. It makes for an important exploration of a deeply patriarchal society that is only beginning to heal the collective traumas of a complicated war, and how its violence continues to ripple through time and into domestic life. 

If it weren’t for his knack for writing, Max Fischer (Jason Schwartzman) would never have gotten into a prep school like Rushmore. But his art secures him a scholarship, and what he lacks in smarts and money, he makes up for in school pride. As he flunks more and more of his academics, however, he is eventually kicked out, and it’s outside the halls of his beloved Rushmore, stripped of all titles and insignia, where he learns to be his true self.  

As the film’s comedic and emotional core, Schwartzman is a revelation as the ambitious and sharp-tongued Max. Equally captivating is Bill Murray’s deadpan but lovable turn as Max’s millionaire friend, Herman Blume. It’s a role so fitting, in fact, that the poor-rich-man character will follow Murray well into his career, long after the curtains close on Mr. Blume. Meanwhile, Wes Anderson will go on to do more colorful and stylized pictures than Rushmore, but thanks to its unbeatable wit and down-to-earth charm, the film remains to be one of the auteur’s most delightful and hilarious works to date. 

Dakota Johnson and Casey Affleck star in this comedy-drama as a small-town couple, one of whom gets diagnosed with a terminal illness. Their best friend (Jason Segel) puts his life on hold and moves in with them, picking up the husband when he faints at the hospital, shaving his head in solidarity with the wife, and even taking care of the dog who also gets sick.

It might seem like just another terminal illness drama, but Our Friend is based on a true story, and it’s as much about the illness as it is about how to be there for people, and reversely, the power of people being there for you.

This musical drama about a Mumbai street rapper was India’s official submission to the Oscars. It was also produced by U.S. artist Nas.

Murad, who grew up poor and with an abusive father, starts working as a part-time chauffeur, which exposes him to the substantial inequalities that exist in Mumbai.

He incorporates all of this into his lyrics, and hopes to make it as a rapper in a story that sits somewhere between a musical and an adventure movie.

Acclaimed director Johnnie To and many stars from the hit series Infernal Affairs reunite for this stylish action drama about a gangster who leads a quiet life but whose murder is suddenly ordered.

When two hitmen arrive to take him out, they discover a second pair of mobsters assigned to protect him. All five men being childhood friends, they end up sharing a meal before deciding where their loyalties lie.

A great score, a gorgeous setting in 90s Macau, and great action sequences make Exiled the perfect summer night thriller.

From early footage of country-folk threshing their crops to blissed-out clubbers at a rave, there is a mesmerizing, insistent sense of rhythm and motion to Arcadia. Director Paul Wright has curated an astonishing array of archive material for this feature-length video montage examining the British and their sometimes uneasy relationship with the land.

Cut together in loosely chronological order, the footage is enigmatic, seductive, and disturbing, set to a haunting soundtrack from Adrian Utley of Portishead and Will Gregory of Goldfrapp. Watching Arcadia is hypnotic, like wading into the uncertain waters of time with a head full of shrooms. And that’s definitely a good thing.

Chinese artist Ai Weiwei directs his attention towards the ongoing refugee crisis, the biggest displacement of people since World War II. His documentary is apolitical and tries to focus on the human side of the picture. It's not a news report or a commentary on the causes of the situation. Instead, it's a combination of heartfelt stories spanning 23 countries that showcase people's battle for dignity and basic rights. A truly epic movie complemented by impressive drone footage that's as impressive as it is sad.