20 Best Foreign Movies on Pluto TV Right Now

Modern day coming-of-age ennui isn’t a new subject at all, but there’s a charm to the way this was presented in Güeros. In his first film, Alonso Ruizpalacios beautifully shoots each scene in black and white, forming striking images of what the capital used to be and taking new approaches in depicting certain scenes (for example, that panic attack with the POV shot covered in feathers!). The cast also excellently portray this millennial emotion well, with their eyes glazed over as they try to seek moments of connection and grounding, as they try to make sense of it all. While some of the politics might fly under the radar to people outside the country, Güeros nevertheless serves as an interesting portrait of the time, as well as an interesting debut for one of Mexico’s avant-garde filmmakers.

Two best friends chase the ultimate high in this Italian movie set in the 90s. Vittorio and Cesare are inseparable, they get in trouble together, fight together, and party together. Suddenly, they start moving at different speeds and one of them wants out, effectively abandoning the other. 

Don’t be Bad is director Claudio Caligari’s last movie before his death, the last installment in his catalog of well-crafted drug-centered stories.

With more and more young people moving to the city for jobs, there’s a certain beauty in the countryside that is being missed out. The Road Home is a simple and straightforward love story, one that is mostly composed of Zhang Ziyi as a country girl stealing glances at the handsome city boy who’s come to teach in the village, but there’s a certain magic in the way director Zhang Yimou depicts the rural traditions of the village, the charming and distinct rhythms of life that continues to this day. While the film glosses over the reasons for Luo’s temporary departure, which some reviewers speculate is due to China’s then Anti-Rightist campaign, The Road Home beautifully depicts the way love can bloom despite these troubles, and how this love can shift the lives of an entire town.

When a regime falls, what follows isn’t a clean slate– it lingers, and it haunts those that were able to survive, part due to what was done to them and part to what they have done. Marshland ostensibly is a police procedural investigating a series of women murdered in rural Spain, but it’s also a clash of ideologies between New Spain, that wants to unearth the injustices that haven’t been acknowledged, and Old Spain, that wants to let sleeping dogs lie. The two plot threads don’t weave together as neatly as it could be, but La Isla Minima still works on both fronts, recreating that feeling of betrayal within that key transition period of Spain.

No one likes to be replaced. Even when it gets difficult, hardwork and years put in effort to take and keep these roles makes it feel precious, and that’s exactly how househelp Raquel feels in The Maid. It’s a funny domestic comedy, with a scowling Catalina Saavedra ready to protect the role she’s held onto for years, but Saavedra and writer-director Sebastián Silva crafts an empathetic, realistic character study of a woman so worn down from poverty, power imbalance, and having had no breaks that the rare instance of compassion feels like a threat. La Nana doesn’t quite critique the entire system that keeps Raquel in her role, but it’s a rare film that acknowledges the importance of rest and empathy in order to feel human.

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.

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.

Given that it is a modern day, colored film remake of a classic, Hara-Kiri: Death of a Samurai was always going to be compared to the 1962 film, especially since it’s considered one of the greatest Japanese films of all time. Admittedly, there’s not a lot added aside from the 3D filming, and for fans of director Takashi Miike, the remake is much more restrained than his other films. However, Nobuyasu Kita’s cinematography is striking, Ryuichi Sakamoto’s score is impeccable, and the performances still deliver on the film’s contemplation of honor, sacrifice, and the self-interest of the elite. Hara-Kiri: Death of a Samurai doesn’t compare to the classic, but it’s nonetheless a decent introduction for the generations that missed the original story.

Going deep undercover, integrating one’s self into a group without any suspicion, and passing out information to another party… That’s the job of a mole. While they mostly lurk in various government agencies, laboratories, and other special circles of power, The Mole Agent instead goes deep undercover in a Chilean retirement home, having stakes that may not be world-ending, but take more personal, domestic weight as Sergio befriends the residents, records and reports on their well-being, and tries to figure out what exactly Romulo wants as evidence. It’s a funny situation, one that depicts the resident home with warmth, albeit with the occasional spy cams and an old-fashioned piano score, but it can be difficult to figure out where the line is between truth and fiction, as some scenes can feel a bit staged. Still, The Mole Agent is a charming portrait of old age, made so compelling with director Maite Alberdi’s unusual perspective.