100 Best Foreign Movies on Kanopy Right Now

In Between is a beautiful and poignant film that offers a sensitive and nuanced exploration of the lives and experiences of three Palestinian women living in Tel Aviv. The film follows their struggles to reconcile their traditional and cultural identities with their desire for independence, freedom, and self-expression. The stunning visuals, evocative and emotional score, and brilliant performances of the cast combine to create a powerful and moving portrait of resilience, sisterhood, and hope. Profoundly human and deeply affecting, In Between offers a fresh and important perspective on the complex realities of life in Israel and Palestine.

The Way He Looks revolves around Leonardo, a blind teenager, as he navigates the complexities of high school life and explores his budding feelings for Gabriel, a new classmate. The chemistry between the characters feels genuine, and the slow-burning romance between Leonardo and Gabriel unfolds with a sense of tenderness and vulnerability. Director Daniel Ribeiro crafted a comfortable watching experience and a true slice-of-life story that doesn’t divulge more than this sliver of time in these teens’ lives. Director Daniel Ribeiro’s debut is a hopeful take on a queer, disabled romance that feels natural, sensitive, and refreshing.

While produced by Wong Kar Wai, Chinese Odyssey 2002 isn’t a moody, melancholy drama that we’re used to. Instead, the Ming Dynasty-set adventure directed by Jeffrey Lau comically spoofs plenty of the beloved genres that captivated Chinese audiences– wuxia epics, musical dramas, and historical romances. The ludicrous crossdressing plot is played in such an over-the-top way, with Lau visually delivering his jabs, with a narrator providing droll commentary on the events, and with intercuts of faux interviews and excerpts from everyone, even including the disgruntled innkeeper spying on the crossdressing princess and the confused restaurant owner. It’s actually quite impressive how the ridiculous plot leads to such a wholesome, moving conclusion.

Best known for landmark cyberpunk anime Akira, Katsuhiro Otomo crafted strange and terrifying visions of a world that has not yet come, imagining technology that surpassed that of today, but in much pessimistic light compared to that of the genre. Three of his manga short stories are depicted in Memories, with Otomo partnering with Kōji Morimoto and Tensai Okamura to direct each segment, and with Satoshi Kon in writing, just before Kon’s own iconic surrealist films. Kon-written Magnetic Rose has been universally acknowledged as the best of them, being much more emotionally poignant, but the other two does have its charms, as Stink Bomb takes a relatively silly premise to its fairly logical, but scary conclusion, and Cannon Fodder takes the beauty of Otomo’s art into such a hollow and ugly world. All three deliver terrifying omens of death through technology used against the everyday man, whether by accident or design.

With many iterations of Faust, Jan Švankmajer’s own take on the deal with the devil isn’t absolutely terrifying, and can feel bizarre, sometimes even goofy, to those unfamiliar with the animation director. However, Lekce Faust is quite creepy, as he brings the legend to modern day Prague with a mysterious map and visually disturbing puppets that brilliantly mixes live action with stop-motion and claymation into folklorish cinematic magic. It’s not the most faithful rendition of the classic tale, but it’s one of the most inventive, proving that while the deals like this pop up only in past folklore, the devil still lingers in fairly absurd ways.

Modern day coming-of-age ennui isn’t a new subject at all, but there’s a charm to the way this was presented in Güeros. In his first film, Alonso Ruizpalacios beautifully shoots each scene in black and white, forming striking images of what the capital used to be and taking new approaches in depicting certain scenes (for example, that panic attack with the POV shot covered in feathers!). The cast also excellently portray this millennial emotion well, with their eyes glazed over as they try to seek moments of connection and grounding, as they try to make sense of it all. While some of the politics might fly under the radar to people outside the country, Güeros nevertheless serves as an interesting portrait of the time, as well as an interesting debut for one of Mexico’s avant-garde filmmakers.

While Lewis Carroll’s Alice in Wonderland is widely considered a classic, there’s just something inscrutable, mysterious, and even a bit weird about the tale. Czech director Jan Svankmajer’s version takes a distinctly unsettling approach, with everything but normal-sized Alice animated into creepy stop-motion, including, but not limited to, cards, puppets falling apart, and actual dead animals, and with every dialogue coming literally from Alice’s mouth, but it’s through this approach that makes the fantastical novel more like a strange dream rather than the Disney-fied fairy tale we’ve come to know. Něco z Alenky is a refreshing take that finally acknowledges the dark side of Alice in Wonderland.

At first glance, Drug War is basically just what it says on the tin– cops crack down on kingpins, lords, and lackeys to save regular people from illegal addictive substances. Even the drug lord-cop dynamic would be a familiar plotline for crime thriller fans. But through this familiar plotline, Hong Kong director Johnnie To takes his first mainland China production to subtly comment on the dynamics between his native region and the larger country, taking the contrast to craft simmering tension each time Choi Tin-ming lies to his allies to save his skin. It’s less action-packed than To’s usual, but the subtext and the shift in style makes Drug War a surprisingly dynamic take on the crime thriller scene.

War Witch is depressing to watch. Having to choose between killing your parents yourself versus having them killed in a worse fashion by someone else is a cruel selection no child deserves to make, and War Witch poses that selection literally within the first five minutes, inspired by the real life recruitment mechanisms of child soldiers in Africa. But what makes the film still worth watching is the way writer-director Kim Nguyen focuses on how, despite everything, Komona clings to her humanity, albeit through the supernatural vision manifesting from a mix of hallucinogens and grief. War Witch won’t be an easy watch for most viewers, but it’s a unique story that has to be told, and we’re glad Nguyen rose up to the task.

After the sudden death of a teacher, 55-year-old Algerian immigrant Bachir Lazhar is hired at an elementary school in Montreal. Struggling with a cultural gap between himself and his students at first, he helps them to deal with the situation, revealing his own tragic past. A strong portrait without any weird sentimentality. 11-year-old actress Sophie Nélisse makes her brilliant debut.