100 Best Foreign Comedies of All Time

Director Gianni Di Gregorio’s gorgeous debut is an understated masterpiece about a bachelor who is his mother’s caregiver. The movie takes place almost entirely in Di Gregorio’s family home in central Rome, a beautiful, big, and well-furnished apartment that his character can’t afford any longer. 

To catch a break from rent, he agrees to host the landlord’s mother while the landlord goes on holiday. The same for his and his mother’s medical bills, and the doctor shows up with yet another elderly woman.  

Di Gregorio finds himself running an impromptu elderly home, with conflicts rising about who gets to watch TV and whose dietary restrictions should be respected. But his calm demeanor, love for cooking, and a lot of white wine make him the perfect man for the job.

A delightfully screwy comedy about a guy and his struggling bar (of the title). The film is full of food, music, dancing, romance, and crazy coincidences. Our hero, Zinos, has just be abandoned by his girlfriend. On top of that his bar is struggling, he’s recently thrown his back out, he desperately needs to find a new chef, and his shady brother has just come to the Soul Kitchen looking for a job after being let out of on “partial parole.” Will it all work out in the end? Of course it will! This film is a lot lighter than Akin’s previous features, but maybe after all those challenging pictures he just felt the need to have a good time, which this film definitely delivers.

The Hand of God is the autobiographical movie from Paolo Sarrantino, the director of the 2013 masterpiece The Great Beauty. He recently also directed The Young Pope with Jude Law and Youth Paul Dano, both in English. He is back to his home Italy with this one.

More precisely, he’s in his hometown Naples, in the 1980s, where awkward teenager Fabietto Schisa’s life is about to change: his city’s soccer team Napoli is buying the biggest footballer at the time, Diego Maradona.

Sarrantino, who is also from Naples, made this movie that is half a tribute to the city and half to what it meant growing up around the legend of Maradona.

The Hand of God is to Sarrantino what Roma was to Alfonso Cuarón, except it’s more vulgar, fun, and excessive. It is equally as personal though, and it goes from comedy to tragedy and back with unmatched ease.

Krzysztof Kieślowski’s trilogy reflects both the colors and the values of the French republic: liberté, égalité, fraternité. In Trois couleurs : Blanc (Three Colors: White), Kieślowski explores not only the theme of equality, but also the ramifications of defining and “achieving” equality as a European ideal.

After failing to consummate their marriage, Dominique (the ever-bewitching Julie Delpy) divorces Karol (Zbigniew Zamachowski), leaving him broke and humiliated. Karol plots to exact revenge on his ex-wife, becoming richer and cruller in the process.

Although this is often regarded as the weakest of the trilogy, White is worth a watch not just for completionists. Kieślowski interrogates what it means to be equal in sex and socioeconomic class—and if when we strive to move upward in society, whether we are really debasing our basic humanity and humility.

Summer Hours centers on three siblings tasked with sorting the valuable pieces their mother left behind. Frédéric (Charles Berling), the eldest, has different ideas about inheritance than his overseas siblings. Will their beloved house stay or go? Will the art? The furniture? Can they afford to keep all these for sentimental reasons or would it be wiser to sell them? They go back and forth on these questions, rarely agreeing but always keeping in mind the life these seemingly inanimate objects occupy, as well as the memories they evoke, which are beyond priceless.

Summer Hours resists melodrama, opting instead for the simple power of restraint—of unspoken words and charged glances. And the result is a quietly affecting movie that basks in the details to paint a wonderful, overall picture of home and family.

From the brilliant minds of Jean-Pierre Jeunet and Marc Jano comes a utopian vision for the ages. After having worked together before on the short sci-fi film The Bunker of the Last Gunshots, the duo-turned-longtime-collaborators pick it up a notch in one of the best dark comedies to come out in the 90s. 

In Delicatessen, Jeunet and Jano disguise the wretchedness of modern society in a post-apocalyptic world where food is the global currency, given how scarce it’s become. We follow Louison (Dominique Pinon), an everyday man who falls in love despite all the hubbub and squalor surrounding him. But nothing comes in the way of love, and instead of discovering a salve, he encounters a snag, one that pulls him deeper into society’s most complex ethical dilemmas. 

Many films have already been made about inequality and hierarchies, but none have been quite as darkly funny and unapologetic as Delicatessen.

The magic of this movie — and every other one directed by Aki Kaurismäki — is in the way it inspires so much hope despite the darkness of its subject. When a man (Markku Peltola) is beaten and robbed one night, he wakes up without any memory of who he is. Forced to start life all over again, he’s subjected to yet more cruelty at the hands of a greedy slum landlord and callous authorities, but finds sympathy and support from his equally downtrodden neighbors. Though the street thugs have emptied his wallet, the unquestioning generosity of the people around him suggests he’s now richer than he was at the film’s outset — as does the sweetly simple romance he strikes up with a lonely Salvation Army worker (Kati Outinen). 

Kaurismäki doesn’t just make films about the disenfranchised for the sake of it: he shows us how easy — and yet momentous — acts of human kindness and solidarity can be, how radical they are in a bleak world. It’s not often a movie can so persuasively reassure us of people’s inherent goodness, but it’s even rarer still for it to be done with as much deceptive, charming simplicity as here.

Break-ups aren’t the easiest thing to overcome, but how we deal with them usually doesn’t get as ludicrous as the events Pepa goes through in Women on the Verge of a Nervous Breakdown. The film makes said nervous breakdown chaotic– it includes spiked gazpacho, a frantic call to the police, and being held at gunpoint– but as Pepa and the women around her try to put off each fire, at least one of them literally, writer-director Pedro Almodóvar ensures sympathy for them, with Pepa’s snappy dialogue cutting through the lies of a smooth-talking womanizer refusing to face them. And it’s all paired with a suitably dramatic score, meticulous staging, and exaggerated, colorful frames mostly occurring in the wreck of a fabulously styled penthouse.

As impressive as Studio Ghibli’s collection of films are, I am still stubborn to believe that Porco Rosso is its most underrated film. Porco Rosso, directed by Hayao Miyazaki, is the story of a World War military aviator-turned-bounty hunter who has mysteriously been transformed into a pig.

Bright with humor, heart, and flight (Miyazaki is largely influenced and inspired by the art of aviation), Porco Rosso manages to also acknowledge and reckon with the horrors of war. It also boasts one of, if not the greatest, line in any Ghibli film: I’d rather be a pig than a fascist.

Ernest is an old bear and Celestine a young mouse; he lives above ground, while she lives underground. Their kinds fear one another, and borders are set in place so that they never intermingle, but despite all the odds, Ernest and Celestine form a bond—they share one similarity, after all, which is that they’re both outcasts. 

Ernest & Celestine is a classic buddy tale of outsiders finding their place in the world. The story and its messages of acceptance and equality are already charming and weighty on their own, but the hand-drawn and watercolored animation gives the film an extra rush of nostalgia and delight. Beautifully made and surprisingly relevant, it’s a children’s film for all ages. It makes sense that it was nominated for Best Animation in the 86th Academy Awards (what doesn’t is it losing to Frozen).  

An English dub is available on most streaming platforms, but we highly recommend watching it in French, how it’s originally meant to be heard.