100 Best Movies on Kanopy Right Now

Before the advent of cruel reality shows and their doomed attempts at realism, and before shows and movies like The Office and Borat made mockumentary the popular genre that it is today, there was a little Albert Brooks film called Real Life. In it, Brooks plays a version of himself obsessed with portraying the “real life” of a classic American family on film, and yet whenever he feels bored, he can’t help but meddle and poke at his subjects to start a fire. The results are unexpected. The humor is quick and deadpan. The satire is sharp and frighteningly prescient. It’s the perfect movie about how truth—no matter how hard we try—can never really be captured in a form like film. All the while Brooks keeps you on your toes with his razor-sharp script. Your favorite mockumentary films will suddenly feel small after watching this underrated great.

When we think about the atrocities committed during World War II, most people would remember the Holocaust, but this war was fought on multiple fronts, not just the West, and one of the most notorious incidents was the Rape of Nanjing. City of Life and Death depicts the massacre in black and white through various perspectives, which proved to be controversial considering some Japanese soldiers were depicted with sympathy, but it drives home the horror, the devastation, the terrible reality of the evil unfurled in the war. City of Life and Death is truly harrowing. The only consolation is that Nanjing thrives today as the Jiangsu province’s capital.

Despite the title and the premise, The Naked Kiss is actually less raunchy than it sounds. Sure, it does have themes that seem more explicit than what’s expected from older classic films, but writer-director Samuel Fuller considers these themes with the weight it deserves, directly challenging the way the men of the town would scorn Kelly’s wares at the same time they’re taking a taste, and at the same time they’re willing to look away from the unpleasant truths lurking in the suburbs because of money. With memorable shots and a surprising song number halfway, The Naked Kiss plays with expectations for an earnest belief in change.

We take it for granted now, but Michael Mann’s feature debut Thief was one of the first crime thrillers that took style and substance very seriously—so much so that its neon-lit, rain-soaked, slightly tilted shots continue to be markers of the genre. Thief is visually and sonically stunning, but the titular criminal, Frank, is most remarkable. Caan plays him with such heart, you have to wonder if he’s gone through the same things. Here’s a guy who was handed a tough hand. Violence is the only life he’s known, but he aspires for a better one, filled with a nice home, a happy family, and financial security. His means may be illegal, but our ends are the same: we all just want a comfortable life. How Frank pursues it with such ferocity is thrilling and tragic to watch.

Before the Devil Knows You’re Dead is Sidney Lumet’s last film, and in many ways, it distills what the director explored in his prolific body of work: What is justice? And does everyone deserve it? Shot digitally at a time when the concept was still quite new, Before the Devil moves fast and takes us uncomfortably close to the lives of three desperate men: cash-strapped Hank (Hawke), corrupt Andy (Seymour-Hoffman), and vengeful Charles (Finney). The same tragic events unfold through their perspectives, but in any case, we get to see what drives them to do such horrid things. Are we suppose to sympathize with them? It’s a question that will nag you long after the credits roll.

FBI agents Rupert and Alan (Gene Hackman and Willem Dafoe) visit Jim Crow-era Mississippi to investigate the disapperance of three civil rights activists. They find out soon enough, however, that answers won’t come easy when local officials and police have ties with the KKK. There’s no shortage of films like Mississippi Burning, but it stands out by simply being well-made. The cinematography is stunning (it won the Oscar that year) and the script is sharp, but the real highlights are Hackman, Dafoe, and Frances McDormand, the latter of whom plays the wife of a violently racist sherrif. The film is difficult to watch to be sure, but as long violence and prejudice reign supreme, it’s also a necessary one. Apart from winning the Oscar for Best Cinematography, the film also sweeped Oscar, Golden Globe, and BAFTA nominations mainly for Hackman and McDormand, and for directing, editing, and sound.

Divorce is hard, even with a fairly civil separation and moving to another place entirely free from the divorced parent. The main emotional stakes are usually carried by the parent, but even then, children have some stake in this relationship, seeing that this permanently affects their relationship with both parents and any siblings they may have. I Wish tackles a separated family through the kids’ eyes– taking a rumored wish-making pair of bullet trains to get their family together, but in the optimistic reality kids tend to have, rather than a fantastical fairytale adventure. Through Hirokazu Kore-eda’s frames, and the precocious real life brothers portraying the main duo, I Wish effectively balances its hopeful tone all throughout, capturing the kids’ hopes and dreams in an endearing, but not overly sentimental, way.

8 wins & 4 nominations total

In the 1995 adaptation of the Jane Austen novel Sense and Sensibility, Emma Thompson and Kate Winslet play Dashwood sisters Elinor and Marianne, whose recent loss of wealth has them looking for suitable partners. Hugh Grant’s Edward Ferrars and Alan Rickman’s Colonel Brandon show their interest, but circumstances regarding love and money complicate their relationships with the women. For this film, Thompson was nominated for a Best Actress Academy Award, but she eventually took home the Screenwriting Oscar for adapting the beloved novel. Thompson added scenes and lines which did so well, the film is often. credited as starting the Austen renaissance in modern cinema. The performances are unforgettable, but it’s the pieces—the lush dresses, sweeping hills, grand mansions, homely cottages, paired with a lovely script—that make it a beautiful whole.

Something about falling in love in an exotic place makes it feel much more romantic, leading to plenty of classic black and white films centered on the idea, with a visual language and a set of aesthetics meticulously enacted in 2012’s Tabu. These classic films, however, rarely contemplate the actual reality behind these films– the reason that made these romantic trips possible in the first place. Tabu subtly critiques this indulgent imagination, with the silent memory melodramatically portrayed and narrated by the white lovers, but with the African natives and their homes and landscapes depicted naturally. Writer-director Miguel Gomes remixes classic cinema techniques to paint and reframe the lovers’ myopic memory, in such a striking fashion.