40 Best 2024 Foreign-language Movies to Watch

With expired film stock, seemingly random shots, not much dialogue, and virtually no plot, there is little to recommend It is Night in America for casual viewing. It is definitely experimental, and as director, editor, and sound designer Ana Vaz presents these shots of animals and urban landscapes, it doesn’t feel like it’s meant for entertainment. But there’s a curiously poignant tone, with the blue tint darkening the cityscape, in their eyes. Night falls for these creatures, who once had a home in this city, and all they can do is survive. É Noite na América isn’t quite the eco-horror it proclaims to be, but its moody and trancelike direction is an interesting approach to the nature documentary genre.

This is a nostalgic, ethereal memory like a childhood yearning, which can be credited to the soundtrack and friendly characters. Its got a lovely message about unspoken or repressed feelings, but the journey there unravels quickly. The second act enters filler side quest territory and loses the energetic pace and tight direction of the exposition. In the end, the premise and pretty visuals feel almost wasted on an ill-paced bloated story, one that tries to capture a wistfulness or magic but ends up feeling forced and manufactured. This is one of those movies you wish was the first movie you ever watched as a child. You won’t have a clue what it was about, but you’ll remember it was nice.

This film lays its foundation nicely: it’s got slapstick romance and an absurdly wholesome motivation, and juxtaposes it with a murder plot, telling you right away the kind of movie you’re going to get. Its mystery aspect is intertwined with comedy, and its comedy stems from an avoidance of direct confrontation, while being so casual with death. The combinations give the movie an exciting and comforting feeling, even with the awkward wrinkles and vaguely ominous pop of red and warm colors throughout. Still, it suffers from a lot of uneventful fluff and underwhelming payoffs. It’s a good thing it’s funny, then.

The beginning instantly captures Kodama’s essence, and quickly sets lofty expectations with the regal intro sequence and the clean narration and reenactments. But it’s basically a feature length interview of the subject, who shares her screen time with the supporting cast to her action drama life (assistants, love interests, the usual), tackling the big scandals that brought trouble to Kodama. It’s a worthy watch, if only for the deep Nelma Kodama and laundering iceberg; however, it does get very long and redundant in feel, which may be necessary to paint the whole picture, but at some point it’s a bunch of branches that lead to other branches and the tree is big.

Boxer starts and ends with a reminder about Communist Poland and how difficult that time was for the country. “This is dedicated to the Polish immigrants who fled in the ‘80s, this story could’ve been real,” the intro reads. So one would expect just that, a film about the grit needed to succeed under an authoritarian state and the specific struggles immigrants go through as they assimilate into a new nation. Disappointingly, however, The Boxer is simply about a boxer, one so obnoxious and unlikeable that I wondered till the end why he was characterized in such a way. Are we supposed to root for this guy? If I was a Polish immigrant in the ‘80s, I’d be offended that he—a selfish, misogynistic, racist, power-hungry, violent man—was representing me. The Boxer could’ve done itself a favor by not pretending to be a film about migrant workers because it isn’t that at all. Instead, it’s a formulaic sports drama that doesn’t even redeem its hero. To his credit, Director Mitja Okorn seems to remember sometimes what the film stands for, and so the best parts are when it displays the discrimination Jedrzej and Kasia go through as non-English speaking European immigrants. But those moments are few and far between. What Okorn should’ve done to really save the film is make Kasia the lead. She is the only one who makes sense throughout the movie, and it’s her parts that are the most compelling. Sports movies starring an egotistical athlete are a dime a dozen, but to focus on the athlete’s partner and recognize their sacrifice and input? Now that’s exciting.

There have been plenty of excellent films that tackle plenty of themes all at once, but Saindhav feels like a bunch of unrelated ideas strung together as an excuse for cool action set pieces. We’re first presented with the idea that violent video games are being used to recruit children for terrorist groups, but in response to this is a pretty violent protagonist that does over-the-top killings complete with explosions. His justification is that he’s doing it for money for his sick daughter, whose treatment is exorbitantly expensive. Both of these ideas should be discussed, and the cast tries to make the best of it, but Saindhav just combines these ideas to justify the glorified violence they’re supposedly critiquing.

With stunning art, an exciting heist, and a steamy romance between a good girl detective and bad boy billionaire, Art of Love could have leaned into the sleek and campy tension of the original 2005 Mr. & Mrs. Smith. There’s some of it here, with the investigation bringing up her previous, sensual memories of the romance that was, and Esra Bilgiç and Birkan Sokullu looking so, so gorgeous dressed in the most stylish outfits. But the film mostly plays out in generic Netflix fashion, with the characters replaying dated clichés, and not actually dealing with the emotional betrayal that should have marked Güney’s abandonment. Art of Love is at least beautiful to look at.

It starts out easy and compelling enough, in the middle of a crime scene with a naked dead girl on the shore. But easy and compelling this refuses to be. The film seems to be a slow, painful look at the process of capturing a perpetrator, a detective’s effort to profile a killer. But it threw a lot more at the wall hoping a lot more would stick. The nonlinear storytelling spices up the action, but it just feels like the base story needed all the help it could get. If you do stick with the movie, you’ll see some gory details, some twists, and an unnecessarily complex story.

A screwball comedy following two crass female cops sounds, well, nice. But without a compelling mystery, believable chemistry, and funny jokes, Nice Girls fails to live up to its name. The crime that drives the movie’s plot feels flimsy and Disney-esque, a formula of a mystery you’ve seen a hundred times before. The chemistry between Leo and Melanie seems nonexistent. Yes, they’re capable actors who do especially well in their action scenes, but together, they fail to create a memorable spark. And then there are the jokes, which I want to believe are lost in translation instead of just plain unfunny. They feel dated in their observations but current because of the context (they’re often racial or political), but they never seem to land. None of the other parts of the film seem to. It’s a great idea—not since Spy have I seen such a valiant attempt at a female crime-busting duo—but it ultimately fails to deliver.

The film starts off with the intense court case drama side of things and generous foreshadowing about disappearances. From there, it’s a seamless escalation of the sinister developments that make up the rest of the story. The start gives us a healthy amount of conflict, suspects, and directions to mull over. The middle, which sees the adventure veer off, is phenomenally paced with all the eerily long silences. Until it unfortunately peaks as the most infuriating watch in the world. This movie doesn’t seem well thought out once the hoo-ha is stripped away and we’re left to confront a story. Organic and promising developments, wasted on forced and empty follow-throughs and a nothing ending.