100 Best Foreign Thrillers of All Time

Pan’s Labyrinth is often considered director Guillermo Del Toro’s best film, and rightfully so. But if you’re looking for a straight-up ghost story, this is the film that gets the job done. Everything about this film is sad and beautiful and unnerving, from the setting (an orphanage during the Spanish Civil War) to the atmospheric visuals.

Familiarity breeds contempt, and Swedish Netflix’s new horror-comedy takes this idea to the extreme. Based on the novel by Mats Strandberg, who’s known as the Swedish Stephen King, The Conference is centered around a group of employees on their company retreat. With its ensemble, the film crafts a relatable dynamic, with the exact petty back-and-forth and the same exact corporate politics many adults have to deal with. It’s no wonder one of them snaps, and takes them out one by one. The film isn’t exactly new, with the decades’ collection of slashers all over the world, but this Swedish thriller is a fun take on it, with match cut transitions, quick paced sequences, and the gruesome murders of the group most adults spend time with – their colleagues. It’s an interesting watch as the world gets back to the office.

In the years since Fan Girl’s original release in the Philippines, its ultimate message and execution has become polarizing: is it enough that the film shows the corruption of a parasocial relationship into an abusive one, without offering much hope? Is its vision of justice actually constructive or disappointingly limited? No matter where you fall, it’s exciting that a movie can stir up these kinds of questions through a bizarre dynamic between characters, in a place that’s clearly set somewhere between reality and delusion. The narrative is circular and frustrating for a reason—a constant push and pull as the titular fan girl keeps getting drawn back into the celebrity’s orbit—and the film only grows more disturbing with each repetition.

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.

Without a shadow of a doubt, one of the most gripping thrillers in recent years. It starts in a morgue where a corpse of a deceased femme fatale goes missing. Her husband is the first person to be suspected as evidence starts pointing to him for killing his wife and hiding the body. He is called by the police to the crime scene to help with the investigation that is led by a shady detective. The film then takes you on a journey filled with reflections on marriage, deceit and the character’s urge to safeguard whats their own and the territories they are willing to cross to keep it. Drawing you into the atmosphere from the very start, it refuses to let you go out of it. All while maintaining a simple premise.

In my own wished-for parallel universe, French actors Vincent Cassell and Emanuelle Devos are voted the sexiest actors alive. I find them both transfixing and appealing in every role they’ve performed, and they are quite the pair here. Devos plays Carla, a put-upon assistant at a property management company. While good at her job, there is little room for her to advance her career, as she is one of the only women at her company and also has a hearing deficiency. Into her humdrum life walks ex-convict Paul (Cassell), who Carla hires as a personal assistant. It turns out that what Paul lacks in secretarial skills he makes up for in other ways. The first half of the film plays almost like a dark workplace comedy, before taking a dangerous turn towards psychological crime thriller. Overall, it’s a dark and sexy character study of two mismatched outsiders who turn out to complement each other perfectly.

Much like the 1976 horror classic Carrie, Thelma centers on a young telekinetic woman whose religious upbringing and sexual repression give way to unpredictable moments of fury and rage. When she meets the cool, charismatic Anja, she falls in love immediately, but the wave of emotions that overwhelm her threaten to destabilize not just their budding romance, but other relationships and lives as well. 

Thelma recalls Carrie in other ways too, most notably in the way it uses supernatural elements to allude to female fury and lust, but it also stands on its own as a singular piece of work; the mesmerizing transitions, the slow-burn pace, and the undercurrent of melancholia are all known trademarks of director Joachim Trier. This layering of old and new makes Thelma an intriguing watch, at once recognizable and wholly original. 

Borrowing heavily from yakuza films of the past, The Blood of Wolves feels like a movie plucked straight out of the 1970s and given a slick coat of 2010s neo-noir shine. The film never tries to reinvent the recipe it’s working with, but it doesn’t have to when its violence is still satisfyingly brutal, its plot endlessly twisty, and its morality grey. At the center is a brash and sleazy performance from the great Koji Yakusho, whom you can never really clock as being in control or out of his depth. It might only hold special value for hardcore fans of the genre, but it provides enough solid thrills for the more casual viewer.

Even with its morale apparent early in the film, Fireworks marries its mental health/loneliness discussion with a “locked room”-type mystery and the cosmic loop of a group suicide attempt gone wrong. It does take care not to glamourize suicide (or needlessly persevering through struggles), but it teeters between virtue signaling and the sincere reminder to reach out to others for help. With anxiety, hopelessness, grief, and redemption at its core, the film still tugs on the heart even though it pulls away from ruminating on the more intense emotions and thoughts that aren’t easily dismissed in a single (even if endless) encounter. 

The humor, oh the humor! It’s a breath of fresh air to be laughing with a Woody Allen film and not at it. He is so good at capturing the cheekiness in meet-cutes, secrecies, and lies, all powdered with exaggerated Frenchness. Forgive my surprised tone, but Coup de Chance surpasses all expectations in the way it turns a rather banal plot into an entertaining game of cat and mouse, without overstepping the boundaries of good taste. In developing a story about female infidelity (or all infidelity, for that matter), one can be overly moralistic just to squeeze out laughs and empathy from the viewer, but Allen refrains from all those cheap tricks. His script is tight and at times ridiculously funny. Whether or not you get behind Fanny and her convoluted ways of seeking happiness, Coup de Chance will offer you plenty of instances to better understand the character in a constellation of other people, who are equally affected by her decisions. In a way, the film is a comedy of ethics as well — something the American director hasn’t successfully done in a long, long while.