50 Best Foreign Movies on Amazon Prime Right Now

Despite being based on a 19th-century serial novel, Lost Illusions feels remarkably close to contemporary concerns about fake news and the devaluing of art for profit. But as the story is also, obviously, set in the 19th century, all this bribery and these backdoor dealings are done entirely through the written word and by sending runners from one Parisian theater to the next—and the result is uniquely thrilling. Nearly every character is a terrible person (like in an old-timey Goodfellas way) and it can get tiring seeing the film glorify their hustle, but the energy it brings is rare to find in any other period drama.

Like many coming-of-age films about films, it’s easy to assume that Last Film Show would be a derivative of all-time film classic Cinema Paradiso. Both films from opposite corners of the world, separate by more than three decades, do share that awe of cinema from a projection booth, but Last Film Show takes the projection even further, with Samay and his friends taking the few reels that pass through their rural village, and experiment outside the theater to create a projector of their own. This journey occurs in part to due the economic difficulties Samay’s family face, but through his precociousness, the film proves his dedication to cinema through awe-inducing scenes of light, shadow, and music, and a devastating (if a tad unsteady) third act twist that turns his films into new life. While the town projectionist Fazal would say movies are made to con people, Last Film Show nevertheless understands that these lies, these shadows, these illusions are still worth saving, depending on what you make of it.

Ever wondered how much your life will change when faced with the reality that death is about to come? That’s normal, and not nearly as life-altering as being told you only have a few more moments to live. Because of a terminal illness, Uxbal (Javier Bardem) is driven to this situation and tries to right his wrongs in the wake of modern Barcelona. This melodrama is supercharged by Bardem’s unearthly performance as the story’s only hero, demonstrating the selfless love of a destroyed and dying father to his children – paired with cinematography unlike any other, this film is exceptionally beautiful. Directed by González Iñárritu’ (Babel, Birdman, The Revenant).

This 2009 Palme d’Or winner is filmed beautifully in black and white by Michael Haneke. In equal parts mysterious and disturbing, it is set in a northern German village in between 1913 and 1914 where strange events start to happen seemingly on their own. The people of the village, who feel as if they were punished, try to investigate it as the events start affecting them one by one. As they speculate on who is behind the acts that never stop, the film unfolds its slow but captivating plot. A brilliant and unique movie.

Best known for landmark cyberpunk anime Akira, Katsuhiro Otomo crafted strange and terrifying visions of a world that has not yet come, imagining technology that surpassed that of today, but in much pessimistic light compared to that of the genre. Three of his manga short stories are depicted in Memories, with Otomo partnering with Kōji Morimoto and Tensai Okamura to direct each segment, and with Satoshi Kon in writing, just before Kon’s own iconic surrealist films. Kon-written Magnetic Rose has been universally acknowledged as the best of them, being much more emotionally poignant, but the other two does have its charms, as Stink Bomb takes a relatively silly premise to its fairly logical, but scary conclusion, and Cannon Fodder takes the beauty of Otomo’s art into such a hollow and ugly world. All three deliver terrifying omens of death through technology used against the everyday man, whether by accident or design.

After the sudden death of a teacher, 55-year-old Algerian immigrant Bachir Lazhar is hired at an elementary school in Montreal. Struggling with a cultural gap between himself and his students at first, he helps them to deal with the situation, revealing his own tragic past. A strong portrait without any weird sentimentality. 11-year-old actress Sophie Nélisse makes her brilliant debut.

We Are the Best! is one movie that may be overlooked largely by viewers, though it perfectly captures counterculture, and relates to the misfit young and old. The movie is an adaptation of Moodysson’s wife Coco’s graphic novel “Never Goodnight”. Set in Stockholm, Sweden in 1982, Klara (Mira Grosin) and her best friend Bobo (Mira Barkhammar) are junior high teenage girls who believe in their heart that punk rock is alive and well. With both of their home lives not so pleasant, the girls spend their time at the local youth center while taking up the time slot in the band room to get revenge on the local metal band. That’s when they find themselves starting a punk band without even knowing how to play an instrument. We Are the Best! is a fun and deeply sincere exploration of adventure, friendship, love, and betrayal in adolescence.

In the crowded genre of Mafia movies, Gomorrah finds its originality in not romanticizing anything. It’s authentically gripping, violent without being excessively violent, and something that can only be described as a masterpiece of Italian cinema.  It follows different protagonists’ entry into organised crime in Naples, with the two main ones taking their inspiration from American gangster characters.  Just to give you a sense of how well-rooted this movie is, after it was done shooting, many of the characters (including the guy who plays the clan boss in the movie), were arrested. In his case, he was caught trying to collect  “pizzo”, otherwise known as mafia tax.

When a film adaptation takes the story of a beloved Japanese children’s novel, and depicts the characters travelling to heaven as cats, it kinda seems like a random addition. Yet, this decision makes sense for Night on the Galactic Railroad, because while the magic and the dreaminess of the trip to the stars still remains intact, the cats keep a bit of the mystery in a visual manner and keep the touch of whimsy as the train ride leads into darker and heavier turns. The visual poetry and the thoughtful way the film contemplates the novel Kenji Miyazawa wrote in grief makes Night on the Galactic Railroad one to remember.

With plenty of old men having extramarital affairs, taking advantage of younger women and leaving them forlorn in love, it can feel deceptively easy to take sides in the first forty minutes of He Loves Me… He Loves Me Not. Who wouldn’t side with Angélique, especially with the innocent, childlike face of Audrey Tautou? And yet, when the twist occurs, the film fills the gaps in totally unexpected ways, gradually escalating to a terrible and sad conclusion about this seemingly romantic girl. It’s hard to further talk about He Loves Me… He Loves Me Not without getting into spoiler territory, so if this is the first time you’ve heard of the movie, go and watch it without any context.