50 Best Foreign Movies on Spectrum on Demand Right Now

Not one but two Oscars as well as a Golden Globe are among this movie’s never-ending list of accolades. It was the first Iranian film ever to get an Oscar and the first non-English film ever nominated for Best Screenplay. Originally titled The Separation of Nader from Simin in Persian, it homes in on the dissolving relationship of a middle-class couple from Teheran – and the unintended consequences of tragic events.

However, this film is so intense, well-acted, and well-written, it defies categorization. To be sure, the movie does offer a painful look at a deteriorating marriage. It’s also timely, dealing with the politics of theocracy, economic underdevelopment, and social alienation. It presents tense moral dilemmas without pointing a finger. If you’re curious to learn about the humans of Iran and, by cultural extension, the humans of the Middle East beyond the scope of global politics, A Separation is also for you.

But please don’t call it world cinema, because this is no Slumdog Millionaire. Above all, it is a searing portrayal of human conflict, relationships, and morals. It is an almost perfect depiction of how many bad people are simply good people running out of options.

A slow-burning Argentinian thriller about a retired legal counselor and the one case he investigated that just would not die, The Secret in Their Eyes is a taut and sharp mystery. As layers of mystery unfold, the story draws the viewer in and becomes entangled with the deteriorating political situation in Argentina. Notably, the film features a single-take 5 minute shot – a fantastic technical achievement and a testament to the directorial vision and skill.

The title of this 2018 Palme D’or winner is not to be taken metaphorically: Shoplifters is about a marginalized family of day workers, crooks, and small-time outlaws, who live on the fringes of Japanese society. Osamu (Lily Franky) and Nobuyo (Sakura Andô) both have jobs but spruce up their low-wage income by committing petty crimes. One day in winter, Osamu takes in a bruised girl he finds outside in the cold and introduces her to the family in his ramshackle house. But when the second-youngest member of the family, Shota (Kairi Jyo), finds himself teaching her how to shoplift, he faces a moral dilemma that threatens to unravel the family’s fabric. If you were hitherto unfamiliar with the unique storytelling and social realism of Hirokazu Koreeda, we really recommend checking it out—as well as his other movies, namely, Still Walking, Like Father, Like Son, I Wish, and After the Storm. His 2018 outing features the last ever performance of Kirin Kiki, who plays the elderly matriarch and passed away that same year. Like many of Koreeda’s works, Shoplifters is an understated, beautiful, and mysterious study of the effects of poverty and trauma and a delicate portrait of a family in Japan’s urban underbelly.

From Korean director Park Chan-wook, who also brought you the far quieter The Handmaiden, comes a movie that is positively terrifying. Its premise alone is enough for any sentient human being to shudder. On his daughter’s birthday, the good-for-nothing Oh Dae-su (played by Choic Min-sik) gets drunk and is arrested by the police. A friend eventually bails him out and, while he is making a phone call, Oh Dae-su disappears. Not knowing why, he is held in the same room for 15 years for no apparent reason. Until, one day, he is released. That’s all that can be revealed about this winner of the Grand Jury Prize at Cannes in 2004 without giving away too much. All we can add here is the way we recommend Oldboy to people admitting to not having seen it yet: “Watch Oldboy. You’re welcome. We’re sorry.” A crazy, twisted film that goes to extremes. A cult classic and a statement.

Before you press play on this movie, we highly recommend you take a few very deep breaths. This 2018 thriller is wound so tight, you will need the extra oxygen to get through it without fainting. In his directorial debut, Swedish-danish filmmaker Gustav Möller uses very little in terms of resources to create this breath-taking atmosphere. While The Guilty feels like it was made on a $100 million budget, all it physically brings to the table is one man in a dark room. It plays with our imagination instead of blinding it with special effects. Similarly, the plot is also short and sweet: a police officer is temporarily sent to do emergency dispatch, when he receives a call that turns an ordinary shift into a hell ride. This is all we are going to give away before you’ve completed your breathing exercises. The movie’s minimalist approach is held together by great acting from Jakob Cedergre, a screenplay to match, and incredible sound design. A real white-knuckle ride.

The first few minutes of Robot Dreams are so deceptively simple and pleasant that it’s hard to think of a conflict that could keep the film moving. But something does happen—life happens, which sounds annoyingly vague, but it’s true. Life happens, and the rest of the film is about how Dog and Robot survive the specific pain of living. It’s at once poignant and delightful, filled with surprising moments that shouldn’t work, but do. It feels incredibly human even though there are no people in sight. It says a lot about the crisis of loneliness and the importance of moving on even though it’s a silent movie. And then there’s that one scene that breaks the fourth wall most adorably, proving that Robot Dreams is anything but the straightforward film it seemed to be in the beginning. Consistently, however, it is a touching movie. Whether it ends up breaking or warming your heart is just something you have to look out for.

Hirokazu Koreeda can do no wrong. The director of Shoplifters and Still Walking is a master of dissecting complex family dynamics through a handful of events. In Our Little Sister, three close sisters who live at their grandmother’s house learn that their absent father has passed. They travel to the mountains to attend his funeral and meet their half-sister, Suzu, for the first time. Suzu is invited to live with the sisters and join their bond.

This movie is a true-to-the-form slice of life, it’s almost drama-free. This absence of plot is an absence of distractions: the sisters are all that matters to Koreeda. His only focus is on how this family becomes bigger, sees past grief, and how the group of close-knit sisters that grew up together can make room for a new addition.

Co-produced by the legendary Studio Ghibli and directed by Dutch animator Michaël Dudok de Wit, The Red Turtle is a tale about a man shipwrecked on a desert island whose fate is changed upon meeting a giant turtle. Beautiful images are pulled together and combined with the film’s delicate symbolism about humanity and nature, in a story told with remarkable restraint. The only sound in the movie is that of nature and the film’s beautifully relaxing score. Using only simple ingredients, The Red Turtle is an enigmatic, captivating, and highly-recommended gem that, after all, encompasses life itself.

Pan’s Labyrinth director Guillermo del Toro creates another haunting movie that leaves you questioning your sense of reality. El Orfanato revolves around a mother tries desperately to find her missing adopted son soon after her and her husband move into her old orphanage. But the past horrors of the orphanage will not let her son be found so easily.

A foreign film on par with City of God, and carrying its heritage of naturalistic performances and raw stories. Sin Nombre will take you into a world filled with gut wrenching violence, heart-breaking loss, and non-stop suspense. And while definitely a tough watch, it reports the horrors of immigration with humane and sometimes hopeful outlook.

The profound and epic redemption in this movie will leave you thinking about it for days.