40 Top Movies on Netflix Based on True Stories

This untamed, high-octane portrait of the Belfast hip-hop trio Kneecap follows real-life members —aliases Móglaí Bap, Mo Chara, and DJ Próvaí, all playing themselves—as they forge a path from lost teens to unlikely cultural icons. Being the first hip-hop act is their native Irish, they’re met with disdain both from their community who think they are misrepresenting the Irish cause (DJ Próvaí translates to DJ Drug Dealer), and from the British for things like playing the same venue where King Charles spoke the night before and one of them exposing their butt with the words “BRITS” and “OUT” written on either cheek.

The story ends up being as much as about the group as it is about identity, artistic freedom, even the Ireland of today – and yet the core of Kneecap, perhaps not just the movie but the group itself, seems focused solely on the importance of having fun while dealing with all of it. The ride is exhilarating, often very funny, and even in tough moments, upbeat. Hang tight.

A hot summer night, around 2 a.m. You’re outside talking with a close friend about life, happiness, and the human condition. That quality and depth of conversation, which you reach at best a couple of times a year is present throughout the 106 minutes of The End of the Tour.

In the case of this movie, you become the witness of five days of conversation spent between two fine writers: the once-in-a-generation American author David Foster Wallace and best-selling Rolling Stone journalist David Lipsky, as they travel the US during the 1996 publicity tour for the former’s magnum opus, Infinite Jest. Twelve years later Wallace will commit suicide.

Like a good podcast, the James-Ponsoldt-directed road movie makes you feel being part of a deeply personal conversation of the kind you would have with a long-time friend. At times, it can feel like eavesdropping on a genius at work. This effect is helped along by a flawless Jason Segal, who delivers an award-worthy performance as DFW. The fierce intelligence exuded by Jesse Eisenberg as David Lipsky is also nothing short of amazing. As they stuff their faces with junk food, their conversation is insightful, immediate, and unpretentiously relevant, making The End of the Tour a rare and important film.

Alfonso Cuaron is a master storyteller, Academy Award-winning director, and the man behind masterpieces such as Y Tu Mamá También, Gravity, Children of Men, and perhaps more importantly, the (uncontested) best Harry Potter movie (Prisoner of Azkaban, of course). In Roma, he tells a different story. His own.

Building on events from his childhood, he tells the story of a young domestic worker in Mexico City’s Roma neighborhood. You get tales of class struggle, family dynamics, and sexism in 1970s Mexico City.

The first hour is slow but so beautiful. All it does is prepare you for the events to come, and those who stick it out will be handsomely awarded. 

This is a stunning, wise and deeply personal movie. It’s everything we should ever ask from filmmakers at their prime.

The Siege of Jadotville is a different kind of war movie. It doesn’t recount famous battles or portray renowned heroes – instead, it’s about heroes and events that went completely unnoticed. Namely, the Irish 35 Battalion ‘A’ Company – a group of youngsters who are sent out on a U.N mission to the Congo. What was supposed to be a simple positioning quickly becomes one of the most sought-after locations and the battalion of 150 ‘war-virgins” find themselves up against 3000 mercenaries led by experienced French commandants. And what a tribute this film is: it’s well-paced, powerfully shot, and the acting, led by Jamie Dornan on one side and Guillaume Canet on the other, is absolutely perfect.

Keira Knightley stars in this incredible true story of an Iraq War whistleblower who remains relatively little-known in the U.S. Katharine Gun was working for the communications office for the British government when she received a memo in the months leading to the war that showed that the U.S. requested illegal wiretapping assistance from the U.K. on U.N. diplomats. In a heroic act, she chooses to share this memo, hoping that it would stop her government (then led by Tony Blair) from going to war. Spoiler alert: didn’t happen, but this decision, which first seemed like a personal sacrifice, has severe implications on her family as the government finds out that she was behind the leak. A compelling political mystery of a case that deserves much more attention than it once got.

What makes Apollo 11 stand out is its sharp minimalist approach, allowing the archival footage of the mission to the moon to speak for itself. It’s stunning to think that at one point or another we had collectively seen a bulk of the footage in this film, and yet somehow let it lay dormant until the moon landing had been reduced to black and white stills in our collective imaginations. Not only does this film reinvigorate the moon landing with the power that it once held, but it does so in a way that is more thrilling than anything the Marvel CGI wizards could muster. The vibrant score adds a layer of ferocious tension, while the breakneck pace gives the feel of a rollercoaster ride. If there is any fault to find here, it is most definitely with the film’s MAGA style yearning for a time and place that never existed. Spare us the teary-eyed patriotism and the clips of Nixon, a disgraceful criminal, and vile racist, yammering on about the world becoming one. Nevertheless, this is a fantastic example of why most biopics should just be documentaries and why the fanatical fear of spoilers is a tad silly. Spoiler alert: they land on the moon.

In 2017, the New York Times published a groundbreaking report by Jodi Kantor and Megan Twohey that detailed, for the first time, Harvey Weinstein’s atrocious history of sexual abuse. The New Yorker would release Ronan Farrow’s report five days after, prompting multiple survivors to share their own stories—and the rest, as you know, is history. Following Kantor and Twohey (played by Zoe Kazan and Carey Mulligan, respectively), She Said sheds light on how this pivotal moment in the establishment of the #MeToo movement came to be.

Based on Kantor and Twohey’s book of the same name, the film reveals the specific journalistic processes involved in writing this expose—a seemingly impossible feat, considering Weinstein’s hold over multiple industries, including the press. Because it’s a newsroom drama, there’s a lot of talking, but there’s also a lot of listening. Gripping, empathetic, and (even now) necessary, She Said makes for a thrilling watch.

This movie’s energy is completely intoxicating.

It’s the directorial debut of renown British/Nigerian actor Chiwetel Ejiofor, but it feels like the work of a veteran.

In a true story told in English and Chichewa (a language from Malawi), a young boy is expelled from school because his parents couldn’t afford tuition. At the same time, his village is struck by a variety of natural circumstances that bring them the threat of drought and famine.

The young boy sneaks into the library in the hopes of making a windmill and saving his village, and you can guess what follows from the title.

The triumph of engineering and a boy with a dream; mix in an incredibly interesting culture, full of unique family dynamics and a thought-provoking intersection between religion, tradition, and technology. The result is a delicate but uplifting movie, not to be missed.

In the Mexican film A Cop Movie, director Alonso Ruizpalacios mixes fact and fiction, documentary and narrative, to tell the tale of Teresa and Montoya, two police officers whose dreams are dashed by the corruption of their trade and who, eventually, find love and comfort in each other.

Ruizpalacios takes thrilling risks in structuring this genre-bending story—cutting stories into parts, jumping back and forth between the harrowingly real and captivatingly non-real. For all the experimental maneuvers he makes, however, the through-line is always Teresa and Montoya: particularly, their love for each other and for an institution that should have, in an ideal world, supported them and the people they vowed to protect.

To its credit, instead of merely humanizing the controversial police force, A Cop Movie adds some much-needed nuance to the big picture. At the end of the day, they’re no different than any other underpaid laborers working desperately to make end meets. A Cop Movie doesn’t gloss over the fact that the police, like so many other workers, are stuck in a rotten system that’s long overdue for a major overhauling.

It’s bold to make a film about a legendary icon of cinema, but it’s even bolder to make one about Orson Welles. Best known for making Citizen Kane (universally agreed upon as one of the best movies ever made), Orson Welles is the renegade filmmaker whose works and techniques form the foundation of modern narrative filmmaking today. In his eyes, he asserts that the best films are made by accident. However, armed with archival footage and interviews with those closest to Welles, director Morgan Neville dares to question one of cinema’s biggest geniuses by examining the production of his last unfinished film, the Hollywood satire The Other Side of the Wind. While Welles was undeniably genius – able to inscrutably visualize a film without scripts – it’s easy to see how his tendency to stoke conflict for art could be so self-destructive. This film presents Welles as he is – both a cinema maverick and also an overly demanding artistic tyrant.

This Netflix production is based on a case that rocked public opinion in Italy. Stefano Cucchi was arrested for a minor drug charge and died five days later from police brutality.

The movie takes its time to expose what Cucchi went through, which might lead some viewers to find On My Skin slow, and rightfully so. Thinking about the issues at hand here, it’s easy to understand why the director made that choice. In fact, Italians’ complex relationship with the Carabinieri, a division of the Italian army that carries out domestic policing, is delicate to explain and requires meticulous unveiling.

Nominated to nine David di Donatello Awards (the equivalent of the Academy Awards in Italy), of which it won three.

Set in 1920s India, RRR follows two revolutionaries who strike up an unlikely bond and fend off the British regime from their home. In their epic journey to protect their people, they encounter a number of setbacks that prompts them to put their incredible combat skills on full display.

Despite its three-hour run, RRR never drags, thanks in large part to its breathtaking action sequences and eye-popping visuals. It may contain all the familiar beats of a blockbuster, but RRR is notably grounded in its central, political theme of anti-colonialism, the sincerity of which keeps the film’s big heart beating palpably throughout.

Fast and funny with surprisingly tender moments in between, Mixed by Erry doubles as a fascinating period piece and a heartfelt family comedy. On a larger scale, it tracks the rise of musical piracy, which Erry and his brothers accidentally stumble onto with their cassette-copying business, Mixed by Erry. But what starts out as an innovative trade fueled by Erry’s love for music—Erry himself is like a Spotify algorithm come to life, instantly creating mix tapes for people based on what they like—soon transforms into a legal threat that catches the ire of record labels and finance regulators alike. It sounds thrilling and complicated, but the film’s lofty premise is grounded by the relatable dreams Erry and his brothers share. They genuinely believe they’re doing nothing wrong by distributing music and boosting the local economy, and as naive and misguided as that may be, there’s something heartwarming about their intentions. The film itself doesn’t take sides. Instead, it acknowledges the situation for what it is—a landmark case in musical history ripe with educational and entertaining moments.  

Song Sung Blue gets its name from a Neil Diamond song, but rather than depict his life in a regular ol’ biopic, it instead depicts the love story behind a tribute band that covers his work. It’s still a biopic, sure. But it captures an angle of the music business that Hollywood hasn’t honored so much before, the performers who were inspired by the greats and ended up settling for what they can have. It’s a new story, one that Hugh Jackman and Kate Hudson carry with incredible chemistry. At a time the industry was accused of being unoriginal, Song Sung Blue proves there’s still stories to be told, just by moving the spotlight to where it hasn’t shined yet.

This Eddie Murphy comedy had all the ingredients to be both a famous movie and an award-winner, but neither happened. It tells the true story of Rudy Ray Moore, a comedian who became famous for creating a character called Dolemite, a pimp, and who later attempted to make his own movie based on the same character. Murphy plays Rudy, but there are also other recognizable faces in supporting roles: Chris Rock, Wesley Snipes, Keegan-Michael Key, Snoop Dogg, and many others. It’s above all a funny movie, but being Eddie Murphy’s first R-rated movie since 1999, it’s also a realistic portrayal of both 1970s L.A. and the struggles of being a black filmmaker at the time.

As the first Zambian film on Netflix, Can You See Us? is an interesting portrayal of albinism. Inspired by the real-life story of musician John Chiti, the film’s plot feels grounded, even if it’s similar to other stories depicting discrimination. With newcomer Thabo Kaamba at the forefront, her performance of the albino boy Joseph shines brighter than even the older actors of the film’s cast. That being said, it is held back by repetitive dialogue and sped-up character development from certain characters. Despite this, Can You See Us? is still a remarkable film that stands out from the other tearjerkers available on the streaming platform.

Freediving is a particularly cinematic sport because it taps into something beyond what the human body is capable of. Skilled divers hold their breath for long enough to reach more than 100 meters deep, and watching footage of that incredible feat is exhilarating, to say the least. The Deepest Breath capitalizes on that very spectacle—being exposed to death and conquering it—and banks on using archival footage of world records and training. It’s a smart move, as it keeps the spectator on edge, but it can also be a cruel way to put thrills over ethics. The editing is kept suggestive, but sometimes, shamefully, at the cost of misrepresenting Alessia Zecchini and toying with the viewer’s expectations to the point of callousness.

There are few places more sacred than the hair salon. Sure, it’s not a place of worship, or a singular unique landmark, or a place where huge decisions are decided by any of the world’s governments, but part of the reason why it’s so ubiquitous is because the hair salon will make or break a life depending on the cut that was made. Steel Magnolias is centered around a salon in a small Louisiana town, and as Dolly Parton as Trudy cuts the townswomen’s hair, she also becomes a refuge for the women too, sharing their worries, doubts, fears, as well as their joy and happiness. It’s such an endearing portrait, one that happened to be made in honor of screenwriter Robert Harling’s sister, and that genuine emotion is the very reason this comedy drama has become a classic.

At the onset of World War II, with most adult males serving in the army, baseball owners came up with the ingenious idea of forming an all-female baseball league. A League of Their Own tells that story through sisters Dottie (Geena Davies) and Kit (Lori Petty), who are enlisted to be part of the Rockford Peaches. Tom Hanks turns in a memorable performance as their alcoholic manager, while Madonna and Rosie O’Donnell play fellow Peaches with their own distinctive flair. The film is an easy, feel-good watch that doesn’t require you to know a whole lot about baseball or even sports. It has a dynamic choreography to it, but A League of Their Own remains a classic because it’s an expert blend of comedy, drama, and history.

In Swan Song, acclaimed actor Udo Kier stars as the real-life Pat Pitsenbarger, a local queer legend in the small town of Sandusky. He used to live a private but joyful life, beautifying socialities by day and performing in drag at night. But now the aging icon is resigned to live out his days in a bleak retirement home, where he takes part in feeble acts of rebellion to keep himself amused. This is bound to change when Pat returns to town on an oddly specific request. There, he makes peace with old friends and grabs at the chance to revive his inner beauty queen once more. 

It’s a simple story with a simple premise, but Swan Song is elevated by Krier’s powerful presence and director Todd Stephens’ obvious love for his hometown. Every diss Krier drops as the sassy Pat is to be savored, and every tribute Stephens makes to town life is to be admired. Filled, too, with colorful and euphoric moments that celebrate gay pride, Swan Song makes for quite the lovable film. 

When everyone around you is cheating, the temptation to join in is tempting, especially if you’re not confident in your own abilities. 12th Fail is the story of IPS officer Manoj Kumar Sharma, and it’s a story about how one instance of honesty sets him on a path to become the same honest police officer that helped save his brother’s life. While it does take a fairly standard message, and the pace falters a bit as it goes on, the biopic depicts this from an understanding of how things are unfairly stacked against people like Manoj, but also with an understanding that the country needs more everyday people in their ranks. 12th Fail may be a familiar underdog story, but it’s lovely, well-made, and unironically sincere in its message to be honest, even when the odds are stacked against you.

We sacrifice so much for our dreams, so if it all fails, whether that be because of ourselves or because of extenuating circumstances, sometimes, a bit of perspective is needed to get back up. The Taiwanese-Japanese romantic drama 18×2 Beyond Youthful Days is centered on two young adults that meet in a karaoke bar in Tainan, one who hopes to pass the summer with some money, and the other hoping to fulfill her dream of travelling the world. It’s a familiar coming-of-age concept, but it’s done so bittersweet and beautifully as the adult Jimmy recalls each moment they shared while on the journey to fulfill their promise to meet each other after they reach their dreams. 18×2 Beyond Youthful Days doesn’t tread new paths, but the film’s way of depicting memories as well as the charming chemistry of the leads transforms the real life travelogue into a moving testament of the connections we form while travelling.

First They Killed My Father adapts the memoir of Cambodian refugee Loung Ung, and it’s not an easy life she’s lived. From the eyes of her child self, the turbulence of the time is already shocking to see, having had to go through starvation, separation from her family, and being thrown into the Cambodian civil war as a child soldier. However, what makes this harrowing biopic work is the way it balances the historical context with Ung’s personal journey. Drawing from her activism in the country (the same humanitarian work that granted her Cambodian citizenship), Angelina Jolie moves beyond the political to the situation on the ground, keeping the memory of what’s at stake each time foreign intervention stokes civil war.

Bryan Cranston, best known for his role as Walter White in the Breaking Bad series, stars as Robert Mazur, a federal agent, who goes undercover to infiltrate the trafficking network of Colombian drug kingpin Pablo Escobar. With the film based on Mazur’s memoir, Bryan Cranston gives an impressive lead performance that captures the intense distress that deep cover can bring. Besides Cranston, co-stars Benjamin Bratt, Diane Kruger, Amy Ryan, and an exceptional John Leguizamo are entirely persuasive and make the film experience enjoyable and intense. The Infiltrator is entertaining and maintains a good pace, with a great cast that makes it a true joy to watch, especially for those who enjoy stories based on real criminals. 

At times of great societal turmoil, sometimes stars are born, not just to entertain the masses but to challenge the way things are done. Amar Singh Chamkila is one such star, and his music captivated all of Punjab in part due to his brash lyrics. His assassination remains unsolved, but director and co-writer Imtiaz Ali takes the event, and uses it to frame his life– the ways Punjab remembered him after death, the ways Chamkila showed his light as well as the ways he was limited by studio oversight and state censorship. The film isn’t a perfect contemplation of artistic freedom, nor is it the most comprehensive take on the singer’s life, but Ali’s direction challenges the way we view the artist and acutely recognizes the way stardom reveals the society’s conflicting desires.