It’s heartbreaking to realize that Happening, a film set in 1960s France tracking a young woman’s journey to dangerously and desperately terminating her pregnancy, is still very much relevant and relatable to this day. Around the world, abortion is still inaccessible, if not completely illegal, and women still struggle to lay full claim to their bodies. A lot of girls grow up with pregnancy statistics meant to instill fear, but Happening brings all that to brilliant life in intimate and unrestrained detail. The fears and wants of our protagonist Anne (played precisely by Anamaria Vartolomei) are palpable throughout. Nothing is held back in this film, and if you find yourself sick in parts, then it has achieved its goal of realistically conveying what it’s like to stay alive in a society that fails to recognize your needs. 

Huesera: The Bone Woman might not be the scariest film horror fans would see, but it does strike at the heart of the scary experience of motherhood. Through eerie sounds of breaking bones and weirdly contorted hands at the edge of beds, the film depicts new mother Valeria being haunted by the titular spirit, despite her prayer to the Virgin Mary. Valeria pleads for her husband and family to listen, though each time she does becomes proof of her faults as a mother. The terror in newcomer Natalia Solián’s face makes it all feel believable, but it’s the folk-inspired imagery of first-time feature director Michelle Garza Cervera that turns this film into a feminist masterpiece.

Such a good movie. The start is reminiscent of great, funny coming-of-age stories. However, a violent event quickly takes place and The Hate U Give becomes a powerful comment on police brutality in America, institutional oppression, and what it’s like to be from a marginalized community but try to find your place in the world. But at the end, it’s a ‘movie’ movie, directed by George Tillman Jr. who made the Barbershop movies and Men of Honor (with De Niro).

When Amin sits down for a tell-all interview about his troubling past, his memories come to life in vivid animation. Sometimes they are sweet and intimate, like when he recounts his time as a playful boy in a much freer Afghanistan. But often, they’re marred by the unbelievable horrors of refugee life. Now a successful academic and soon-to-be husband, Amin discovers the inescapability of his status and identity, the reality of which continues to threaten his safety to this day.

Relevant and vital, Flee sheds some much-needed light on an often-overlooked phenomenon. More than just displaying factoids and numbers, it relays the specific unease and constant vigilance that comes with fleeing one’s home. But as Amin’s story, it is also richly detailed and wonderfully personal; for all its harsh exposés, the film leaves enough room for Amin’s stirring realizations about love, identity, and sexuality.

To Leslie follows the eponymous Leslie (Andrea Riseborough), a Southern woman who finds herself at the bottom of the barrel after finally using up every penny of her $190k lottery win. Out of work, friends, and family, she drowns herself in alcohol—that is until a kind soul in the form of motel owner Sweeney (Marc Maron) takes her in and gives her a shot.

To Leslie starts off a bit slow, and its premise may seem like it’ll give way to weepiness, but it’s worth sticking by till the end. The film only gets better, especially with the arrival of Maron, whose presence lends the film a much-needed buoyancy. It’s also worth noting that unlike many of its kind, To Leslie avoids the poverty porn trap by depicting issues like addiction and indigence with nuance, honesty, and humanity.

The Kid With A Bike is a deceptively simple title for a film this stirring. At 12 years old, Cyril (Thomas Doret) has been abandoned to social care by his father (Jérémie Renier) — but what’s really heart-wrenching is that he’s in denial about the finality of their separation. Cyril’s muscles are seemingly always coiled, ready to spring him away from his carers and onto the next bus that’ll take him to his disinterested dad, who has secretly moved away to “start anew.” It’s only through the random force of Cyril’s few words — like the moment he asks the first stranger to show him some kindness (Samantha, played by Cécile de France) if she’ll foster him on the weekends — that we get to sense the depth of his desperation, because neither the film nor Doret is showy in that regard.

The film pulls off transcendency because of these restrained performances and its unfussy realism. In the quietness of the storytelling, emotion hits unexpectedly — and deeply. The everyday tragedy and miraculous hope of Cyril’s life are set off by some enormously moving orchestral Beethoven, the very grandeur of which underscores the effect of the humanist filmmaking: affirming the inherent preciousness of his troubled, oft-rejected child.

Ryan Gosling plays a Jewish Neo-Nazi in this extremely riveting window into the definition of inner conflict. It is a prime example of how character development should be done and it put Gosling on the map for me. He starts out as an exemplary student in Hebrew school until he starts questioning his teachings and exploring alternative ideologies, leading him to the neo-Nazi movement. Won the Grand Jury Prize at Sundance

It’s impossible to describe this incredible movie as one thing or the other. It’s an epic three-hour saga that takes you through the Nazi era, the communist era, the rise of capitalism, and the East and West German divide. But more than its historic value, it’s a coming-of-age story, one that is based on the experiences of famed German artist Gerhard Richter. It’s also a romance, following his experiences finding love and being hit with loss (in no particular order). If you liked the director’s other work, the Oscar-winning The Lives of Others, you’re sure to love this too.

The Kings of the World is a surreal coming-of-age movie that follows Rá, Culebro, Sere, Winny, and Nano, street kids who are on their way to claim land that’s rightfully theirs. Their one goal is to finally make a home after living without one for so long, but they’re hindered by the inevitable tragedies that befall kids of their kind: impoverished, alone, and abandoned.

The title is ironic, but it also hints at their state of mind: these boys are unstoppable, rabble-rousers who live like there’s no tomorrow. They tear down private property and invade inns not out of spite, necessarily, but out of a knowledge that whatever they do they’re gonna be put down anyway, so they might as well live without rules.

Tackling powerful themes like land restitution and youth neglect, The Kings of the World is one of the most agonizing movies you’ll ever see. It’s also Colombia’s official Best Foreign Language Film entry in the 2022 Academy Awards.

Restored in 2019, Djibril Diop Mambéty’s adaptation of the 1956 play, The Visit, presents a powerful allegory of societal decay through the story of Linguère Ramatou, a woman who returns to her impoverished hometown with an offer that can change everything. Mambéty’s skillful direction captures the complexities of human nature and the moral choices we face in a world driven by greed and corruption in a global capitalist world. The narrative unfolds with precision, blending dark humor and piercing social commentary. With or without the context of its original influence, Hyenas is a brilliant Senegalese film.