20 Best Indie Movies on Pluto TV Right Now

Understated in budget but lavished with praise, this semi-autobiographical drama by Daniel Destin Cretton flings its audience into the chaotic lives and personal crises of at-risk youths and the passionate social workers that aid them. In his first feature film, the young director draws the viewers into the storm of events and the emotional ups-and-downs of social work in America, going from uplifting to depressing and back – and every emotion in-between.

Set in the real-life and eponymous group home Short Term 12, devoted but troubled foster-care worker Grace is played by Brie Larson, whose shining performance in her first leading role was lauded by critics. Fans will also recognize the supporting actors Lakeith Stanfield and Rami Malek, who broke out in this movie. Short Term 12 is now considered one of the most important movies of 2013 – some say of the decade – owing to its immaculate writing, intimate camerawork, and gripping performances.

Directed by Taika Waititi, who also gave us Boy (2010) and co-produced What We Do in the Shadows (2014), Hunt for the Wilderpeople is the quirky and magical buddy movie you want if you’re in need of an antidote to a bad day or a steady diet of sad movies.

It tells the off-kilter adventure story of misfit, rap-loving city kid Ricky Baker and his crusty and cantankerous foster parent ‘Uncle’ Hec, played by Sam Neill. ‘Very bad egg’ Ricky has been bounced out of more foster families than he cares to remember and is given one last chance of living with a couple out on a farm in rural New Zealand. After tragedy strikes early in the film, the unlikely pair gets lost in the wilderness and becomes subject to a nationwide manhunt.

Full of dead-pan humor and warm-hearted mockery, this audience favorite fuses visual gags delivered by a charming cast with sweeping shots of spectacular scenery!

Simply titled The Imposter, this film by English documentary maker Bart Layton tells an unbelievable tale. Any plot summary doing this film justice has to err on the side of brevity, which is why it will be only one line long: this is the story of Frederic Bourdin, a serial imposter nicknamed “The Chameleon”, who at one time claimed to be the missing son of a family from Texas. The film is so well-shot that it is hard to tell fact from fiction at times and it will force you to remind yourself that this is in fact real life. Expect twists and turns at every corner and brilliant storytelling from real people. If Christopher Nolan created a 48-hour story, it would pale in comparison to this film.

Named after a slur for people of Asian descent, this 2017 film put Justin Chon on the map as a director. More than that, he also starred as the main lead in this raw and uncompromising period drama about Asian-Americans and the LA riots in 1992. Shot completely in black and white, it tells the story of Eli, a scrawny Korean-American, who runs his family shoe store with his brother, Daniel (David So), in several vignettes. They strike up an unlikely friendship with Kamilla (Simone Baker), a black kid from around the way, whose family is not happy with her hanging out with the two brothers. Amidst the ubiquitous violence in LA at the time, the Rodney King riots as well as a tragic shooting of a black teenager by a Korean convenience store owner, it shines the light on America’s intra-minority race relations and the more unseen stories behind them. A topic that has come back to haunt America in the 2020s. The film is fierce as it is funny, harsh as it is playful. Uplifting and unsettling.

Not only is this multi-award-winning drama seriously star-studded, Robert Downey Jr., Rosario Dawson, Channing Tatum, and Shia LaBeouf also deliver superb performances. With two Sundance Awards and many other nominations in its pocket, A Guide to Recognizing Your Saints is based on the eponymous memoir by author, director, and musician, Dito Montiel, who recalls his violent childhood on the mean streets of Queens in the 1980s (LaBeouf plays the young Dito), as he visits his ailing father after 15 years away in Los Angeles (Downey Jr. plays present-day Dito). It is also real-life Dito’s directorial debut, recalling the loose, improvisational style of 70s cinema a’la Scorcese. The powerful plot is told through flashbacks and fourth-wall bending monologues, while the eccentric directing style makes for a raw and immediate experience. The energy of this coming-of-age drama is off the charts!

An inspired by true events tale about an elderly Irish woman trying to find the child she was forced to give up many years earlier. Steve Coogan co-wrote the script and, though the base story is a tragic one, his special brand of very subtle, wry wit is apparent in the dialogue throughout. Judi Dench plays the mother who had kept her “sinful” past a secret for fifty years and, being Judi Dench, I don’t need to bother going on about her exemplary talent, suffice to say she’s charming beyond measure in the role. Steven Frears directs, as usual, deftly, and keeps the story compelling scene after scene, intensifying the emotions inherent to each, whether they be heart-warming, comedic, or outright enraging. Whoever decided to let Steve Coogan have his way with the script, it was a brave and wise choice and together this cast and crew have produced a wonderful and important piece of cinema.

Nebraska is a poem distilled into a film. Peter Travers from Rolling Stone says “is it a comedy or a drama? Both at the same time, as life itself.” Everything about it is perfect: the acting, the photography, the story. In case that’s not enough and you need to know the plot to get convinced, I’ll tell you that it’s a road movie about a senile old man and his son. If you still want more information, you can Google it, but come on! You’ll just be wasting time that would be better spent on watching this masterpiece.

Awkward. That is how Oliver Tate can be described, and generally the whole movie. But it is professionally and scrutinizingly awkward. Submarine is a realistic teen comedy, one that makes sense and in which not everyone looks gorgeous and pretends to have a tough time. It is hilarious and sad, dark and touching. It is awesome and it’s embarrassing, and it’s the kind of movie that gets nearly everything about being a teen right, no matter where you grew up.

This cult classic is the first hip-hop movie in cinema’s history — and, aptly, one of the most sampled movies in rap music. With a cast drawn exclusively from the NYC graffiti, breakdancing, and rap subcultures that it spotlights, Wild Style wisely doesn’t try too hard to construct a conventional drama. Instead, there are toe-tapping scenes in neon-lit, smoke-filled clubs that stretch far beyond usual cinematic limits because they’re following the dynamic pace and infectious rhythm of the battling emcees, not film’s rules.

In lieu of a plot, Wild Style captures the singular atmosphere of the period it was filmed in, when hip-hop culture was thriving and art curators had begun to look to graffiti artists to fill their galleries. That uneasy turning point in the culture is chronicled here through the perspective of Zoro (real graffiti “writer” Lee Quiñones), a young artist who looks on with disdain as his peers embrace the commercialization of their medium by NYC’s art world. (As he shrewdly puts it, risk is central to graffiti’s identity — made for subway cars and walls, not framed canvases.) Brilliantly capturing the freewheeling spirit of NYC’s hip-hop scene, this is a time capsule that never feels dusty thanks to the appropriately off-the-cuff filmmaking.

Not to be confused with the American cop thriller with the same name, Shōhei Imamura’s Black Rain is about the atomic bomb, but it’s not really concerned about nuclear warfare. Sure, the film opens with gruesome shots of the day the bomb dropped, not sparing the viewers from the gore and the titular nuclear fallout, that in black and white looks the same. And yes, much of the conflict occurs because of the lingering effects of the radiation. However, Imamura is much more concerned with the way Japanese society had tried to deal with it through going back to tradition– through going through the motions of matchmaking and propriety and social status and through excluding those who suffered directly from the bomb. Black Rain has a singular perspective, one that stands out due to the country’s denial of war crimes.