This South Korean coming-of-age story, an award-winning debut from Lee Su-jin, is centered around a high school student named Han Gong-ju. There’s a dark aura surrounding our teenage protagonist, as she avoids making new friends and closes herself off from the world. More than anything, she is afraid that people will discover the secret behind her shy persona, and the past events that changed her life forever. This is an intricate and truly devastating tale, sensitively told, and is likely to leave even the most hardened viewers filled with rage at those who have wronged Han Gong-ju.

Similar in spirit and in subject matter to the Oscar-winning documentary 20 Feet from Stardom, The Wrecking Crew pulls back the curtain on the recording of many of the greatest American songs of the 1960s and ’70s: that a single group of unassuming session musicians were responsible for bringing out the sound in these tracks. The film is a treasure trove for musicians and music fans, making you hear certain instrumental nuances in a different light and deepening your perception of music between what was written and what was recorded. Then inevitably and tragically, the realization sets in that few—if any—of these musicians have received the recognition they truly deserve, as essential but unfairly small parts of a music industry ecosystem that often cares more about image and entertainment than musicianship.

When he’s accepted into the prestigious Islamic university Al-Azhar, fisherman’s son Adam (Tawfeek Barhom) gets an eye-opening education — but not the kind he expected. A place associated with notions of purity is imagined as a hotbed of hypocrisy and corruption here, as naive young Adam finds himself unwittingly embroiled in a state plot to seize control of Al-Azhar (because, as one government official puts it, “We can’t accept having two pharaohs in the land”). Cairo Conspiracy’s intricate plot confronts monsters in government and strips away religious leaders’ veneer of divinity as a reminder that they’re merely fallible men. What’s more, the film grapples with the knotty mess of politics raging inside the institution’s walls in such a way that even its palatial courtyard feels claustrophobic. Rife with paranoia and subterfuge, Cairo Conspiracy feels utterly unique thanks to this skillful transposing of the shadowy machinations of courtly intrigue dramas and ’70s paranoid thrillers into a very contemporary Egyptian setting.

Shrooms director Paddy Breathnach has als dipped his toes in romcoms and thrillers, but this queer Bogota-set drama has a lot of tenderness in its heart. Micro-budget and full of life as the name suggests, Viva is an inspiring story that centers around Jesus (Héctor Medina) and his own individuation. A hairdresser with the talent of a drag performer, he assumes the role of Viva in the weekend cabaret. As warm and open as his father is detached and somber, Jesus is a likeable protagonist with the vulnerability and dedication to follow his dream, that no wonder the film made the Oscar shortlist in 2016.

You can tell Drugstore Cowboy was written by someone who has been through drug abuse and incarceration himself. This is the kind of film that has to be lived, not researched. It’s realistic, sure, and it gets at the interiority of a drug user with ease. But there is no judgment to be found here, no preachy criticism or misguided glorification of a hardened lifestyle. Bob (Matt Dillon) and his wife Dianne (Kelly Lynch) have created a nomadic, transient life that allows them to live on drugstore lootings one district at a time, while looking out for each other and the other couple they live with, Rick (James LeGros) and Nadine (Heather Graham). They chose this outlaw life, and because of the agency the film affords them, there is joy to be found despite their difficulties. It’s an authentic story, elevated by imaginative editing, a jazzy, heart-thumping score, and believable performances by a quartet of capable actors.

So far, chemical waste hasn’t mutated amphibious creatures enough to create giant monsters large enough to swallow people whole… yet. This sort of monster film premise is familiar, especially for fans of 1950s sci-fi movies, but in the hands of director Bong Joon-ho, The Host transforms what could have been B-movie schlock into a drama examining the ways generations within a family, as well as generations within a country and within the world, have failed each other. As the Park family try to save their own, the actions they take feel all the more important, knowing what’s at stake on multiple levels. While at the time, there were doubts that Bong Joon-ho and the Korean film industry could pull off the monster, The Host proved that there was more to come from the then emerging film giant.

A hilarious comedy about politics in the UK and US. The secretary of State for Internal Development Simon Foster accidentally backs the plans for a war in the Middle East and suddenly finds he has a lot of friends in Washington. What follows is a difficult to follow maneuvering of pro- and antiwar factions in both governments. The harder it gets to follow what’s going on in the movie the more it resembles our present day politics and the funnier it becomes.

Produced by Eminem, Bodied is like if the rap battles of 8 Miles lasted a whole movie, and that movie was a comedy. Adam is a white poetry major who studies battle rap and believes they represent the most modern form of poetry. His fascination leads him to participate and win in a battle and subsequently enter that world. But this is anything but an underdog story – Bodied is more of a satire of what Adam represents and how his college entourage reacts to his offensive lyrics. This is a funny movie and an interesting commentary on what it means to be offensive nowadays.

A young lawyer has to defend a murderer after passing the bar only three months prior in this satisfying German drama. To make matters worse, the victim happens to be his mentor, a wealthy and seemingly kind-hearted business man. As for the perpetrator, he refuses to say a single word. Caspar, the lawyer, is from a German-Turkish background, which is a hint to where the complexity of this legal drama lies: in Germany’s history and racial legacy. The Collini Case is satisfying to a fault, but if you’re looking for substance-filled entertainment, this is some of the best you’ll get.

This lovely comedy-romance from Ireland is about a closeted gay teen and his lesbian schoolmate who pretend to be in a relationship to avoid being bullied at their school.

This premise makes Dating Amber an original story in a genre in which that’s increasingly rare. This is added to the setting, in 1995 rural Ireland, which is executed to gorgeous perfection in everything from the clothes to the music. 

Dating Amber ends up being more coming-of-age than a comedy-romance. It’s a tale of friendship and self-acceptance.