75 Best Foreign Movies on Criterion Channel Right Now

When it comes to darker subjects such as suicide, an emotionally resonant, minimalistic film like this leaves an impression. The film follows Mr. Badii, a middle-aged man contemplating suicide, as he drives around Tehran searching for someone willing to bury him. Abbas Kiarostami’s meticulous framing creates a sense of intimacy and introspection, allowing the audience to delve into the profound existential questions raised. The sparse dialogue, breathtaking landscapes of Tehran, and the use of natural warm lighting enhance the visual beauty and contemplation of the film. Poignant and hopeful in just twenty-four hours and one car.

In modern day Europe, demonic possession seems to be a thing of the past, something most likely to be attributed to mental illness, and something that can be dealt with through modern medicine, not exorcism. Still, exorcisms are conducted in certain areas in the continent, and some instances don’t go the way they should. Inspired on the real life Tanacu exorcism, Beyond the Hills doesn’t depict the event through a horror or melodramatic lens– instead the film is stoic, naturalistic, with long single takes that linger uncomfortably and repetitively. As Alina pleads to Voichița to help her, to choose her and their bond, Voichița grapples with wanting the modern yet isolating freedom she knows Alina has found elsewhere, while still wanting the refuge religious tradition has granted her, but also has made her dependent on. It does take a while to reach its conclusion, but Beyond the Hills is a deeply unsettling and striking movie to watch.

There’s something rich at the heart of Afire that, whether intentionally or not, is kept at arm’s length from the viewer. Over the course of Leon’s (Thomas Schubert) quiet summer retreat to work on the manuscript for his second book, we come to understand his generally irritable nature as not just creative but existential. Through his eyes and writer-director Christian Petzold’s expertly restrained sensibilities for drama, every moment becomes tinged with a vague jealousy—insecurity about other people leading satisfied lives, and his inability to let anything be without finding fault in it first. Leon is meant to be difficult to sympathize with, but at his core is an emptiness that comes with the acknowledgement of how limited one’s future really is.

And on the opposite end is Nadja (Paula Beer), a woman who just happens to be staying at the same vacation home due to an overlap in booking, whom Leon sees as a reminder for everything he lacks: romance, thoughtful attentiveness, and a love of life that helps her to stop focusing on what she thinks she lacks. The film stops short of having these characters undergo change that feels truly meaningful, but just seeing them dance around each other with a sharpening tension is well worth the experience.

If given the outline of this film, it might be easy to just call it poverty porn. But there’s a genuineness to Mambar Pierrette that keeps this film from sliding into melodrama, a certain subtlety that captures the everyday life in Douala, Cameroon. Filmmaker Rosine Mbakam, who made her start through documentary films, brings her naturalistic style here, placing the titular seamstress front and center as she responds to each and every difficulty that comes her way. And as the flood comes, and so too her troubles, Pierrette Aboheu Njeuthat shines with a subtle charisma, a performance full of dignity for the titular single mother that carved out a life through her craft. Mambar Pierrette might have a familiar neo-realist story, but it’s done well due to its excellent balance.

Of course, it won’t be surprising that Man Bites Dogs is particularly violent, given that the entire film is basically a documentary of a serial killer. But even those used to the gore, murders, and gruesomeness might be taken aback by Benoît (Poelvoorde)’s immediate murders, the matter-of-fact explanations of how he selects his targets, the casual conversations about random topics inbetween kills, and the easy way he lures the filmmakers (and the audience) to the amusement he gains from all of it. Man Bites Dog isn’t an easy watch, and it definitely deserved its controversial reputation, but we can’t deny how hard it is to look away.

Movie vampires are usually depicted in the spooky gothic way or the sexy, supernaturally romantic way. Mr. Vampire instead depicts this undead creature in a goofy manner, taking the Chinese jiangshi as an unfortunate mentorship program between Master Kau and his silly, incompetent assistants. It’s a bit corny, but director Ricky Lau creates action-packed yet comedic fights that Hong Kong cinema is known for, taking this creepy mythology with much more playfulness than we’re used to with vampires. Horror fans looking for a scare won’t find what they’re looking for in this flick, but action-comedy fans, as well as viewers that want to start watching horror films, might enjoy this slapstick satire in anticipation for Halloween.

An electrifying portrayal of a girl growing up in a poor Paris suburb. This coming-of-age story follows Marieme, a girl struggling in high-school who learns that she will be rerouted out of academia and onto a track where she will learn a trade. Frustrated by the news and fearful of an abusive elder brother, she finds solace in a gang of girls from her neighborhood. Initially she decides against joining them but does so at the prospect of pursuing a crush. Her new friends take her into the center of Paris and to a more violent and crime-driven lifestyle. An undeniably grim movie, Girlhood compensates with an amazing character study – themes of identity and adolescent need for belonging are at the center of a type of a story that rarely ever gets any attention.

While love and longing can transform people into their best selves, it has famously transformed couples into their worst selves too, and this change captivates our imaginations of how the relationship was formed. Deep Crimson revisits the Lonely Hearts Killers, dramatizing their exploits with a darkly comic flair. As Mexican auteur Arturo Ripstein brings their tale to Mexico, he and his screenwriter wife Paz Alicia Garciadiego dive deep into these undeniably evil characters, spotting the ways their jagged edges fit and make them whole, which creates a twisted bond that isn’t easily torn apart. Profundo Carmesí is an unforgettable take on an unforgettable crime duo.

Happy Together is a beautifully devastating tale about a gay couple, portrayed by Tony Leung Chiu-Wai and Leslie Cheun, who struggle with maintaining romance and fidelity in their relationship. Despite their efforts, they find the emotional distance growing between them, especially as they leave their home of Hong Kong for Buenos Aires.

Filmed and set in the late 1990s, Happy Together explored the depths of queer love in a way most films hadn’t. 

Since its release, it has touched the souls of many and caused tears to be shed. It serves as a reminder that love isn’t perfect, but it’s always worth the effort.

It’s been years since Fahrije and the women of her village lost their husbands to the war. It’s one thing to move on after their passing, but quite another to never be sure about their whereabouts, dead or alive. Hive tells the story of how, in the wake of this inexplicable loss, the women of a Kosovo village reluctantly band together and make a new life for themselves and their families.

Thanks to its grit and restraint, Hive avoids the cheesy trappings of a melodrama. The dialogues are straightforward and the performances taut but affecting. Their battle with poverty and misogyny is sadly a familiar tale, but told through the lens of single mother/burgeoning entrepreneur Fahrije, it is rendered deeply personal and illuminating.