536 Best Character-driven Movies to Watch (Page 5)

Staff & contributors

If you’re less about adventurous plots, and more about the emotional journey and relationship arcs, we’ve got you covered. Here are the best character-driven movies and shows to stream right now.

Full Time is about the Herculean task that is getting through the day. For Julie Roy (the incredible Laure Calamy), that means keeping a job in the city as a single mother living in the suburbs. In this particular week, she has to attend to childcare, work a job below her skill set, apply for a job that actually matches her skill set, and get home before her children's bedtime, all while a transport strike immobilizes the city. 

Protests aside, Julie's reality is an everyday feat some of us don’t even bother to question, but the film—edited and scored like a thriller—makes a vital point about the overlooked difficulties of juggling career, family, and self. 

It's unrelenting, intense, and truly gripping from start to end, kind of like Uncut Gems for the everywoman. It's rare to see social commentary at this pace, but it's also unexpectedly powerful, a necessary portrait of the times.

Genre: Drama, Thriller

Actor: Agathe Dronne, Anne Suarez, Bô Gaultier de Kermoal, Carima Amarouche, Cedric Welsch, Cyril Gueï, Évelyne El Garby-Klaï, Geneviève Mnich, Irina Muluile, Karine Valmer, Laure Calamy, Lucie Gallo, Mareme N'Diaye, Marina Saura, Romain Deloutre, Romain Ogerau

Director: Eric Gravel

Rating: Not Rated

What starts out as as a summer camp of teenage boys not taking anything seriously grows into a rousing portrait of their hopes and dreams for the future. You wouldn't expect a documentary like this—shot like a reality TV show—to carry so much weight, but Boys State knows how to unearth the values that drive each of its incredibly well-rounded characters. So by the time these young men have assembled their mock governments and are casting their votes, it feels like the spirit of an entire generation is on the line. This is powerful, entertaining, and ultimately tear-jerking filmmaking that shows us how much work we still have to do and how much hope there still is.

Genre: Documentary, Drama, Family

Director: Amanda McBaine, Jesse Moss

Vortex, Gaspar Noé’s haunting exploration of death and dementia, begins with a dedication: “to all those whose brains will decompose before their hearts.” The statement sets the heartwrenching tone of the film, which follows an elderly couple—one with dementia and the other with a heart ailment—during their last days together. Noé cleverly depicts all this in a split-screen design, which evokes the fractured pattern of old-age thought. 

Noé’s mother struggled with dementia, and Noé’ himself suffered from a brain hemorrhage that nearly killed him, so Vortex is clearly a personal film. But even without knowing this, Vortex feels effortlessly dear and deeply intimate, like it could've only been done by a person with a first-hand experience of this tragedy. At once personal and universal, Vortex is a haunting and inventive ode to love, death, and everything in between.

Genre: Drama

Actor: Alex Lutz, Corinne Bruand, Dario Argento, Françoise Lebrun, Jean-Baptiste Thoret, Nathalie Roubaud, Stephane Derderian

Director: Gaspar Noé

The bare bones of The Limey’s story — vengeful Cockney ex-con Wilson (Terence Stamp) flies to LA to investigate the suspicious death of his daughter Jenny — are gripping enough, but what Steven Soderbergh does with them elevates this neo-noir thriller into something utterly singular and stacked with layers upon layers of meaning. An icon of London’s Swinging ‘60s scene, Stamp is pitted against laidback symbol of ‘60s American counterculture Peter Fonda (as Jenny’s sleazy older boyfriend), giving their face-off grander cultural stakes. The extra-textual significance of the casting is deepened by Soderbergh’s ingenious references to the actors’ heyday: in flashbacks to Wilson’s happier past, for example, we’re shown the actual Stamp in his younger years (courtesy of scenes borrowed from 1967’s Poor Cow).

The Limey is also a brilliant showcase for editor Sarah Flack’s technical inventiveness: though the narrative is largely linear, the film cuts to and from scenes and sounds at unexpected points, giving the film an almost David Lynch-like sense of eerie fragmentation. Conjuring up a nightmare LA atmosphere isn’t all the editing does, either, as the film’s puzzle pieces are expertly reassembled to reveal an emotional gut-punch of an ending. In short, this high point in Soderbergh’s filmography is a must-see for any fan of cinema.

Genre: Crime, Drama, Mystery

Actor: Allan Graf, Amelia Heinle, Barry Newman, Bill Duke, Brandon Keener, Brooke Marie Bridges, Carl Ciarfalio, Carol White, Clement Blake, Dwayne McGee, George Clooney, Jim Jenkins, Joe Dallesandro, John Cothran, John Robotham, Johnny Sanchez, Lesley Ann Warren, Luis Guzman, Matthew Kimbrough, Melissa George, Michaela Gallo, Nancy Lenehan, Nicky Katt, Ousaun Elam, Peter Fonda, Rainbow Borden, Randy Lowell, Steve Heinze, Terence Stamp, Wayne Pére, William Lucking

Director: Steven Soderbergh

Rating: R

Of all the Christmas-set films to have come out over the last couple of months that were, inexplicably, about grief and regret (you'd be surprised by how many there are), The Holdovers easily outdoes its contemporaries by being confident enough to just sit with its characters. Like the best of director Alexander Payne's other films, there are no melodramatic crescendos or overcomplicated metaphors; there are only flawed individuals going about their lives, occasionally noticing the things that bind them together. Payne's gentle touch means the characters (and the audience) aren't forced to "solve" their grief, but allowed to come to terms with it in their own way, with each other.

Payne evokes the film's 1970s setting through a muted color palette and analog—almost tactile—sound design, giving warmth to this New England despite all its snow and chilly interiors. It's understandable that these characters are similarly cold to each other on the surface at first, but they manage to thaw the ice simply by taking the chance to listen to each other's pain. It's the kind of film in which relationships develop so gradually, that you hardly notice until the end how much mutual respect has formed between them when they return from their dark nights of the soul back to their status quo.

Genre: Comedy, Drama

Actor: Alexander Cook, Andrew Garman, Brady Hepner, Carrie Preston, Carter Shimp, Cole Tristan Murphy, Colleen Clinton, Da'Vine Joy Randolph, Dakota Lustick, Dan Aid, Darby Lee-Stack, David J. Curtis, Dominic Sessa, Dustin Tucker, Gillian Vigman, Ian Dolley, Ian Lyons, Jim Kaplan, Joe Howell, Kelly AuCoin, Kevin Daigneault, Kevin Fennessy, Melissa McMeekin, Michael Malvesti, Michael Provost, Naheem Garcia, Oscar Wahlberg, Osmani Rodriguez, Pamela Jayne Morgan, Paul Giamatti, Rena Maliszewski, Stephen Thorne, Tate Donovan

Director: Alexander Payne

Rating: R

This masterpiece from Norwegian director Joachim Trier is a clear-eyed movie that takes place in one day in the life of a 34-year-old. Anders, a recovering drug addict, gets to leave his rehab facility for the first time to take a job interview. He visits friends, tries to meet his ex, and goes to the interview. With every interaction, you get to know him more and understand that what he's going through is shared with everyone he meets. At 34, Anders feels it is too late to turn his life around, and so do his friends. He just happens to be a drug addict.

Genre: Drama

Actor: Aksel Thanke, Anders Borchgrevink, Anders Danielsen Lie, Hans Olav Brenner, Ingrid Olava, Kjærsti Odden Skjeldal, Malin Crepin, Øystein Røger, Petter Width Kristiansen, Renate Reinsve, Tone Beate Mostraum

Director: Joachim Trier

Rating: Not Rated

The film stars Jake Gyllenhaal as Lou Bloom, an impromptu freelance videographer who begins covering the crime world in LA for a local TV station. Almost as dark as a mystery can get, it is disturbing, and plays out as a combination of "Drive" and "The Network". The film is visually stunning as well as immensely suspenseful. It then becomes almost impossible to look away, even when you're the most horrified by just how far Bloom is willing to go to reach success. Gyllenhaal's performance is widely compared to that of Robert De Niro in Taxi Driver, which should give you an idea of its caliber.

Genre: Crime, Drama, Mystery, Thriller

Actor: Alex Ortiz, Ann Cusack, Bill Blair, Bill Paxton, Bill Seward, Carolyn Gilroy, Chris Wolfe, Christina De Leon, Dale Shane, Dan Gilroy, Dig Wayne, Eric Lange, Holly Hannula, Jake Gyllenhaal, James Huang, Jamie McShane, Jonny Coyne, Kathleen York, Kent Shocknek, Kevin Dunigan, Kevin Rahm, Kiff VandenHeuvel, Leah Fredkin, Marco Rodriguez, Merritt Bailey, Michael Hyatt, Michael Papajohn, Myra Turley, Pat Harvey, Price Carson, Rene Russo, Rick Chambers, Rick Garcia, Riz Ahmed, Sharon Tay, Stephanie D'Abruzzo, Viviana Chavez

Director: Dan Gilroy

Rating: R

The tragic irony of war — that, if battling soldiers had been born in any other time or place, they may well have been friends with each other — takes center stage in this brilliant drama set in WWII-era Java. It's a theme best encapsulated by Captain Yonoi (Ryuichi Sakamoto in his film debut), the bushido code-following commandant of a Japanese POW camp: “How wonderful it would have been if we could have invited all of you to a gathering under our cherry trees,” he muses to the titular British Lieutenant Lawrence (Tom Conti), one of his prisoners.

Lawrence is the camp’s mediator, and not just because he’s fluent in Japanese; in the culture clash microcosm that is the camp, he is uniquely understanding of his captors’ way of life. That earns him special privileges of sorts from the camp’s often brutal enforcer (Takeshi Kitano), but this pales in comparison to the instant partiality with which the charismatic Major Jack Celliers (David Bowie) enjoys, courtesy of a smitten yet deeply repressed and tormented Yonoi. This psychosexual undercurrent bubbles furiously throughout Merry Christmas, Mr. Lawrence, deepening its (already poignant) lamentations about war’s humanity-stripping effect and the self-imposed prisons that are honor and shame.

Genre: Drama, History, War

Actor: Alistair Browning, Arthur Ranford, Colin Francis, Daisuke Iijima, David Bowie, Grant Bridger, Hideo Murota, Hiroshi Mikami, Jack Thompson, Johnny Ohkura, Kan Mikami, Rokkō Toura, Ryuichi Sakamoto, Ryūnosuke Kaneda, Takashi Naito, Takeshi Kitano, Tamio Ishikura, Tom Conti, Yūji Honma, Yūya Uchida

Director: Nagisa Ōshima

Rating: R

Leave No Trace is the amazing new movie from the director of Winter's Bone, Debra Granik. It's the story of a father and his daughter who live completely off the grid in a national park in Portland, and their quiet quest to not be separated and remain off the grid. It's not the sensational, tear-jerker story that you'd expect something with this premise to be. Rather, and like Winter's Bone, it chooses a humane and realistic approach to the subject matter. The decision to live outside society is almost irrelevant to this movie. More so, its inevitability for certain people with certain mindsets is what is interesting. A stunningly quiet movie, really well-acted too.

Genre: Drama, Mystery

Actor: Alyssa McKay, Art Hickman, Ayanna Berkshire, Ben Foster, Dale Dickey, Dana Millican, Debra Granik, Derek John Drescher, Isaiah Stone, Jeff Kober, Jeffery Rifflard, Michael Draper, Michael J. Prosser, Spencer S. Hanley, Thomasin Harcourt McKenzie, Thomasin McKenzie

Director: Debra Granik

Rating: PG

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. 

 

Genre: Drama, History

Actor: Alice de Lencquesaing, Anamaria Vartolomei, Anna Mouglalis, Cyril Metzger, Édouard Sulpice, Fabrizio Rongione, Francois Loriquet, Julien Frison, Kacey Mottet Klein, Leïla Muse, Louise Chevillotte, Louise Orry-Diquéro, Luàna Bajrami, Pio Marmaï, Sandrine Bonnaire

Director: Audrey Diwan

Rating: R

Kimberly Peirce's first–out of only three—film was a smashing success, mostly due to her dedication to the subject matter. Peirce spent years researching the life and tragic death of Brandon Teena after reading an article about him in The Village Voice. She felt a particular kind of kinship as a queer person herself, and wanted to construct a story out of real facts that would put the spotlight on love and the desire for connection, and not that much on the violence which dominated the public discourse. In Falls City, Nebraska, the director conducted interviews with Lana Tisdale (Brandon's girlfriend) and her mother, while attending the ongoing trial. She took years to cast the lead and from hundreds of cis women, lesbians, and trans people, she chose the unknown actress Hilary Swank, who went on to win the Best Actress Academy Award (and the irony of that is not lost on us). The film features fantastic performances aplenty and very raw storytelling, visualized by neorealist style and low lighting. Direct references were the films of Martin Scorcese and John Cassavetes, but Boys Don't Cry has its own blend of beauty and cruelty to take pride in.

Genre: Crime, Drama

Actor: Alicia Goranson, Alison Folland, Brendan Sexton III, Caitlin Wehrle, Cheyenne Rushing, Chloe Sevigny, Craig Erickson, Gabriel Horn, Gail Cronauer, Guilford Adams, Hilary Swank, Jackson D. Kane, Jeannetta Arnette, Jerry Haynes, Josh Ridgway, Libby Villari, Lisa Renee Wilson, Lou Perryman, Matt McGrath, Paige Carl Griggs, Peter Sarsgaard, Rob Campbell, Robert Prentiss, Shana McClendon

Director: Kimberly Peirce

Rating: R

, 1996

Three years before the Wachowskis released The Matrix, their debut, Bound, was already one of the most visually stunning crime thrillers of the 1990s. If you look at the film as a straightforward genre piece, it's as thrilling as the best of the genre: vulnerable heroines, suspenseful sequences taking place mostly in one enclosed location, and a plot driven by mind games and careful manipulation. Every scene is marked by one breathtaking image after another, from the atmospheric use of lighting and color to intelligently placed cuts linking the two protagonists together no matter how much they've been kept apart.

But Bound only takes on more meaning when you look at it through the queer and trans perspective that the Wachowskis undoubtedly placed over the film years and years before their own coming out. By focusing on how Violet and Corky (a captivating Jennifer Tilly, and a sensual Gina Gershon, respectively) use their femininity and their gender as tools to break free from these patriarchal gangster narratives, Bound becomes a timeless expression of queer yearning and freedom.

Genre: Crime, Drama, Thriller

Actor: Barry Kivel, Christopher Meloni, Gene Borkan, Gina Gershon, Ivan Kane, Jennifer Tilly, Joe Pantoliano, John P. Ryan, Kevin Michael Richardson, Margaret Smith, Mary Mara, Peter Spellos, Richard C. Sarafian

Director: Lana Wachowski, Lilly Wachowski