100 Best Foreign Movies on Hoopla Right Now

It’s been years since Fahrije and the women of her village lost their husbands to the war. It’s one thing to move on after their passing, but quite another to never be sure about their whereabouts, dead or alive. Hive tells the story of how, in the wake of this inexplicable loss, the women of a Kosovo village reluctantly band together and make a new life for themselves and their families.

Thanks to its grit and restraint, Hive avoids the cheesy trappings of a melodrama. The dialogues are straightforward and the performances taut but affecting. Their battle with poverty and misogyny is sadly a familiar tale, but told through the lens of single mother/burgeoning entrepreneur Fahrije, it is rendered deeply personal and illuminating. 

Prior to being defined by that fateful bombing in 1945, Hiroshima was like any other city outside of Tokyo; small but full, quiet but busy, and in the midst of a slow-but-sure journey to modernization. We experience the rich and intimate details of this life through the kind-hearted Suzu, who herself is stuck between the throes of old and new. She is an ambitious artist but also a dedicated wife; a war-wearied survivor and a hopeful cheerleader. 

Set before, during, and after the Second World War, the film starts off charmingly mundane at first, but it quickly gives way to inevitable grief in the second half. One stark tragedy follows another as it becomes increasingly clear how much we lose our humanity in war.

In This Corner of the World is the rare film outside of the Hayao Miyazaki canon that captures the latter’s heart for detail while still being graciously its own.

Xavier Dolan’s emotionally charged directorial debut centers on the complex relationship between 16-year-old Hubert and his mother, brought to life by Dolan himself and Anne Dorval, respectively. The film paints an authentic and all-too-familiar picture of two people who love each other yet clash in similarly self-centered and stubborn ways.

The mother-and-son duo vacillate between love and hate in a screenplay full of drama. The cinematography, relying much on negative space, perfectly evokes a sense of disconnect and animosity. However, there is little subtlety to be found here, much like Hubert’s sexuality being embodied by a poster of River Phoenix displayed in his bedroom. The rawness and heightened telling of events indicate that this story is as fresh and unpolished as then 19-year-old Dolan’s own feelings about family dysfunction, particularly mommy issues. The heavy-handedness and moments of exaggeration in his quasi-autobiography are obvious, a fault of execution that one can attribute to lack of experience.

Still, the powerful visuals and dialogue hint at a vision of what more to expect in Dolan’s now-celebrated career. I Killed My Mother, by all accounts, fulfills its role as his promising directorial debut.

Loosely based on the 1909 novel, Martin Eden is a stunning film about the hollow success of individualism. The plot points remain the same: Eden, a self-taught sailor, wants to win the heart of the wealthy Elena Orsini. To do this, he strives to break into the upper class with his writing. However, in this film, writer-director Pietro Marcello adds another dimension to the anti-individualist story: he transports Eden from his original California setting to Naples—allowing for views of different cultures, languages, and classes. By intercutting between old film stock and lingering close-ups, Marcello draws from his documentary background to masterfully evokes the process of remembering. And in refusing to define the time period, Marcello recognizes that Eden’s struggle is still ongoing today—and that his success is still hollow.

Charming and easy to watch, The Painting is a simple morality tale with unique animation. The film is set in an abandoned painting, whose subjects are actually conscious, living beings. They have three distinct social classes: the Toupins (fully painted), Pafinis (lacking some colors), and the Reufs (sketches). Tired of the discrimination and wanting everyone to be fully painted, three of these beings leave the painting in search of the artist. While the lesson is seemingly simple, the film delves into some existential themes and makes them easy to understand for the younger audience. The film celebrates creating one’s self in an absurd world, rather than passively accepting other people’s definitions. But what stands out most about this film are the designs. Inspired by modernist art, director Jean-François Laguionie created colorful and distinct characters whose faces diverge from the usual bug-eyed Disney/Pixar style. If you’re looking for a different animated film, this might be a good start.

With a forest home destroyed, leaving an adorable cat spirit child displaced, The Legend of Hei seemed like a Studio Ghibli-esque tale, at least in themes, child protagonist, and fantasy flying. There’s charming moments where Hei appreciates the day-to-day– moments where he diligently learns his powers, enjoys the simple human pleasures present in the modern world, and of course, feels at home in the stunning natural spirit places. However, it’s not quite Ghibli as there are plenty of wuxia-inspired fight scenes, with as many flying kicks involved. That being said, there is a pro-peace message here, that at face value, is probably a good message for children, but this film’s peace comes without clear details about Hei’s displacement, or the general condition of the spirit world at large. The Legend of Hei’s charming animation is lovely, but this push for peace could have been more meaningful if it also considered justice.

Some bigots like to equate genitals to one’s gender and sexual orientation, but in practice, it’s not always a straightforward equation, especially for the rare, but natural, occasion when people are born with both male and female sex organs. XXY isn’t the first film to discuss the intersex experience, but it’s one of the first features that managed to be critically acclaimed. Unlike some of its predecessors, XXY is much more grounded, taking place in the modern era, and is mostly centered on Alex’s gender and sexual exploration. The film isn’t a perfect depiction– at the time, intersex wasn’t even the most common term, and sex-reassignment surgery was often the default action– but there is a lot in the film that dared to question certain ideas, such as having to choose only between a binary. Not many intersex films were created after this, in part due to how rare intersex is, and how broad the term encompasses multiple conditions, but XXY stands out all the more because of it.

In another country, you can forge a completely different life from the one you had in your hometown. For closeted LGBTQ+ individuals, moving to a more tolerant society allows you to explore facets of your sexuality that wasn’t possible previously. In Goodbye Mother, first generation immigrant Nau Van is confronted with the secrets he hid from his hometown, the secret that isn’t a secret in America. The conflict plays out in a familiar fashion, going through plenty of the usual experiences that coming out entails, but, while these are familiar, Goodbye Mother tugs at the reality Asian immigrants experience, and does so in a sweet and empathetic way.

There is a great deal of disbelief to suspend with this film, arguably the weakest of Japanese animation director Makoto Shinkai’s oeuvre. It follows Hodaka, a broke high school student in Tokyo looking for a job. The story kicks off when he meets Hina, a cheerful girl who lives with her younger brother and has the power to control the weather.

Again, as with all of Shinkai’s work, it’s remarkably beautiful. Rainfall, skies, and cityscapes are eye candy here, probably more than in any piece of animation ever. But this has every high school romance trope elevated to an extreme level, like Shinkai’s best known film Your Name but on steroids—a teenage boy and cute girl fit together like pieces of a puzzle, a grand adventure starts, forces beyond their control threaten to separate them, and the standard anime couple seemingly never see each other again, until they dramatically meet years later.

For the sake of an against-all-odds romance, Weathering with You downplays its insane plot devices. It glosses over runaway kids wielding firearms, an underage girl almost going into sex work, and a climate disaster potentially displacing millions of people—all for a love story.

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.