36 Best Original Movies On Kanopy

Staff & contributors

Thanks to technological and artistic innovations, in the past couple of decades inventiveness in film has become truly limitless. From novel formats to unusual scripts and cinematography, here are the most original movies and shows to stream now.

Find the best original movies to watch, from our mood category. Like everything on agoodmovietowatch, these original movies are highly-rated by both viewers and critics.

Much like Berlin’s infamous nightlife, which serves as the backdrop to the plot, this daring German real-time drama will eat you up and spit you out. After leaving a nightclub at 4am, Victoria, a runaway Spanish girl, befriends a gang of four raucous young men, climbing rooftops and drinking beers among the city’s moon-lit streets. The gang’s light-hearted banter is impressively improvised from a skeleton script, offset by Niels Frahm’s ominous original score.

But what starts out as late-night high jinks swerves into darker territory. Driven by her infatuation with the pack leader Sonne, played by Frederick Lau, Victoria ends up being recruited as a get-away driver for an ill-prepared bank robbery and loses herself in a sinister spiral of events. What sounds like a standard-issue crime drama is, in fact, a staggering cinematic experiment.

Filmed in one take, on location, and in real time, the movie’s production is indeed a gamble, but director Sebastian Schipper more than pulls it off. The claustrophobic camerawork of cinematographer Sturla Brandth Grøvlen leaves the viewer feeling like a hapless accomplice to Victoria’s plight. With Laia Costa giving an awe-striking lead performance, the high wire acting of the entire main cast only adds to this effect. Victoria is a stellar directorial debut, heart-stopping drama, and a truly immersive experience.

Genre: Crime, Drama, Romance, Thriller

Actor: Adolfo Assor, Andre Hennicke, Anna Lena Klenke, Burak Yigit, Daniel Fripan, Eike Frederick Schulz, Eike Frederik Schulz, Franz Rogowski, Frederick Lau, Hans-Ulrich Laux, Laia Costa, Lena Klenke, Martin Goeres, Max Mauff, Philipp Kubitza

Director: Sebastian Schipper

Rating: Not Rated, R

It’s a testament to Agnès Varda’s remarkable ability to glean so much raw beauty and truth from the world that this autobiographical documentary is such a rewarding watch, even for people unfamiliar with her. The Beaches finds the pioneering director in reflective mode as she looks back at her work and life, but her artistic impulses are by no means stagnant: she approaches the past with the same — if not more of the — generous candor and youthful spirit that colored her career.

It’s also a testament to Varda’s inimitable artistic touch that she turns a usually-bleak subject — mortality — into something this life-affirming. The Beaches was made when she was 81, aware of her own ticking clock and still nursing the decades-long loss of so many loved ones (chiefly, husband Jacques Demy). Just as her grief-stricken reflections don’t overwhelm the film with sadness, the whimsical impulses she indulges here — like constructing a beach on the street in front of her office — don’t blunt the sharpness of her candor. The overall effect is bittersweet and profoundly inspiring: as with the mirrors she places in front of the tide in the film's first scene, she’s showing us it’s possible to face the inescapable with a twinkle in your eye.

Genre: Documentary, Drama

Actor: Agnès Varda, Gérard Depardieu, Harrison Ford, Jane Birkin, Mathieu Demy, Robert De Niro, Rosalie Varda

Director: Agnès Varda

It’s hard to overstate just how lovely — and quietly radical — this largely improvised Canadian docudrama is. The scenario (seven elderly women and their tour bus driver are stranded in the Canadian wilderness for a few days) is contrived, but the rich, lively conversations that feature are all drawn from the women’s real lives. As they hunker down and get on with the business of surviving with meager food — something they manage to do largely thanks to the bushcraft skills of Mohawk elder Alice — the strangers reflect on their long lives and open up to each other about their lingering fears and still-burning hopes.

They’re a diverse bunch — featuring Cockney transplants, lesbian pioneers, and nuns — and the film’s brief cuts to real photos from the women’s earlier years both underscore the rawness of what they’re saying and serve as testaments to the rich fullness of their lives. The Company of Strangers grants these women the kind of serious consideration and space that they’re denied in so many public spaces, but it never feels like a strained exercise in redressing that imbalance. Instead, this is simply a gentle, gorgeous, and profoundly moving portrait of women who aren’t done living yet.

Genre: Adventure, Drama

Actor: Alice Diabo, Beth Webber, Catherine Roche, Cissy Meddings, Constance Garneau, Michelle Sweeney, Winifred Holden

Director: Cynthia Scott

More simply called La Vie d'Adèle in its native language, this French coming-of-age movie was hugely successful when it came out and was probably one of the most talked-about films of the time. On the one hand, the usual puritans came to the fore, criticizing the lengthy and graphic sex scenes. On the other hand, Julie Maroh, who wrote the source material that inspired the script, denounced Franco-Tunisian filmmaker Abdellatif Kechiche for directing with his d*ck, if you don't mind me saying so, while also being an on-set tyrant. Whatever you make of this in hindsight, the only way to know is to watch this powerfully acted drama about the titular Adèle (Adèle Exarchopoulos), and her infatuation with Emma, a free-spirited girl with blue hair, played by Léa Seydoux. The film beautifully and realistically portrays Adele's evolution from a teenage high-school girl to a grown, confident woman. As their relationship matures, so does Adèle, and she slowly begins to outgrow her sexual and philosophical mentor. Whatever your final verdict on the controversial sex scene, Blue Is the Warmest Color is without doubt an outstanding film as are the performances from Exarchopoulos and Séydoux.

Genre: Drama, Romance

Actor: Adèle Exarchopoulos, Alain Duclos, Alika Del Sol, Alma Jodorowsky, Anne Loiret, Aurélien Recoing, Aurelie Lemanceau, Aurélien Recoing, Baya Rehaz, Benjamin Siksou, Benoît Pilot, Benoît Pilot, Bouraouïa Marzouk, Camille Rutherford, Catherine Salée, Catherine Salée, Éric Paul, Fanny Maurin, Halima Slimani, Jérémie Laheurte, Jérémie Laheurte, Judith Hoersch, Justine Nissart, Karim Saidi, Klaim Nivaux, Léa Seydoux, Maelys Cabezon, Maud Wyler, Mona Walravens, Quentin Médrinal, Salim Kechiouche, Samir Bella, Sandor Funtek

Director: Abdellatif Kechiche

Rating: NC-17

Transit is based on a WWII novel — though you wouldn’t be able to tell from first glance. While the characters talk of German fascists occupying France, anachronistic details (like modern technology and clothing) suggest we haven’t gone back in time at all. Director Christian Petzold isn’t trying to confuse us: by blurring the backdrop, he’s making the terror and the desperation of the story more immediate — removing the distance that might have prevented us from really feeling what happens.

The uncanny historical echo effect works as intended, because the parallels Transit subtly draws between the past and today are horribly clear. What’s more, the movie’s intentionally ambiguous framing suffuses the plot with an otherworldly sense of mystery, a quality that gradually intensifies as Georg (Franz Rogowski) desperately searches for a one-way ticket out of hellish bureaucratic limbo before he finds himself waylaid by that most mysterious emotion of all: love. Unshakably haunting and undeniably poignant, this is a movie that will live under your skin.

Genre: Drama

Actor: Àlex Brendemühl, Antoine Oppenheim, Barbara Auer, Emilie de Preissac, Franz Rogowski, Godehard Giese, Grégoire Monsaingeon, Justus von Dohnányi, Lilien Batman, Maryam Zaree, Matthias Brandt, Paula Beer, Ronald Kukulies, Sebastian Hülk, Trystan Putter

Director: Christian Petzold

In 2005, Palestinian olive farmer Emad Burnat bought a camera to document the birth of his new son, Jibreel. But what was intended as an act of celebration quickly grew into something else, as Burnat inadvertently became a documentarian of the oppression his West Bank village faced when a wall was erected through it and Palestinian farmland illegally appropriated by Israeli settlers. As we come to witness, this reluctant pivot is just another example of everyday life in Bil’in being forcibly reoriented by the occupation, as Burnat captures the daily struggles of life in the village and charts the innocence-shattering effect the occupation has on young Jibreel’s burgeoning consciousness. 

Over his footage of encroaching illegal settlements, the arrests of Palestinian children in the middle of the night, the point-blank shootings of blindfolded and handcuffed peaceful protestors — plus tender snapshots of nature and joyful events in the village — Burnat delivers a poetic, reflective narration that miraculously ties these horrible and hopeful images together. It's this intimacy of perspective that makes 5 Broken Cameras profoundly harrowing and unexpectedly transcendent — a personal document of oppression that is also a testament to the miraculous persistence of the human spirit, the resilience of life and the urge to seek beauty even under truly awful circumstances.

Genre: Crime, Documentary, Drama, War

Actor: Emad Burnat, Mohammed Burnat, Soraya Burnat

Director: Emad Burnat, Guy Davidi

Rating: NR

Whether graffiti is art or not is the question guiding this fascinating documentary about the spray can-wielding artists of ‘80s New York. Wherever you come down in the debate — though this presents compelling arguments that graffiti is a medium worthy of critical attention — you’ll undoubtedly come away with a reverence for the kids who went hard with the paint on NYC’s walls and subway cars. Candid interviews with these young pioneers (whose cultural contributions are now less in contention) reveal that they’re not simply rebelling for rebellion’s sake: they’re largely motivated by a desire to make their mark on their beloved city — to stand out and have their work seen by the millions riding the subway every day.

The doc largely embeds itself with the artists, but it also interviews the “other side”: then-mayor Ed Koch and police officers, who were ramping up their aggressive “war on graffiti” campaign during filming. It’s clear that these interviewees have little interest in understanding what drives the kids to create their murals — a lack of curiosity that Style Wars blessedly counters. Not just a thoughtful contribution to its period and a fascinating time capsule, but also a thought-provoking reminder that art is art, whether it's made outside of the system or not.

Genre: Documentary, Music, TV Movie

Actor: Cap, Daze, Dondi, Ed Koch, Eric Haze, Gene Anthony Ray, Irene Cara, Kase 2, Rammellzee

Director: Tony Silver

Here’s a biopic that focuses on capturing the feel of the era it depicts, rather than all the facts — and is all the better for it. 24 Hour Party People takes the same punk approach to storytelling as its subjects did to music, playfully throwing off the dull constraints that often make based-on-a-true-story movies feel like uninspired celluloid translations of a Wikipedia page. 

In the film’s opening scene, Steve Coogan’s Tony Wilson breaks the fourth wall to address us directly and semi-spoil the movie’s ending. But it doesn’t matter, because the ride is so fun: we’re taken on an immersive trip through the heyday of the Manchester music scene: the births of Joy Division, New Order, the Happy Mondays, and Wilson’s Factory Records label and legendary Hacienda nightclub, an incubator for acid house and rave culture. The era’s hedonism is brought to life by the movie’s frenetic editing, documentary-style cinematography, and strobe-heavy visuals. For all its onscreen anarchy, though, the movie remarkably never feels loose or self-indulgent. Its irreverence is grounded by the ironic filter of the meta filmmaking, which frequently breaks the fourth wall to draw attention to its own conceits. A refreshing rejection of biopic tropes, but also a thrilling transportation into and evocation of the Madchester era.

Genre: Comedy, Drama, Music

Actor: Andy Serkis, Chris Coghill, Christopher Eccleston, Daniel Lestuzzi, Danny Cunningham, Darren Tighe, Elizabeth Kelly, Enzo Cilenti, Fiona Allen, Helen Schlesinger, John Simm, John Thomson, Kate Magowan, Keith Allen, Kenny Baker, Kieran O'Brien, Lennie James, Margi Clarke, Martin Hancock, Naomi Radcliffe, Neil Bell, Paddy Considine, Paul Popplewell, Peter Gunn, Peter Kay, Ralf Little, Raymond Waring, Rob Brydon, Ron Cook, Sean Cernow, Sean Harris, Shirley Henderson, Simon Pegg, Smug Roberts, Steve Coogan, Toby Salaman

Director: Michael Winterbottom

Rating: R

This cult classic is the first hip-hop movie in cinema’s history — and, aptly, one of the most sampled movies in rap music. With a cast drawn exclusively from the NYC graffiti, breakdancing, and rap subcultures that it spotlights, Wild Style wisely doesn’t try too hard to construct a conventional drama. Instead, there are toe-tapping scenes in neon-lit, smoke-filled clubs that stretch far beyond usual cinematic limits because they’re following the dynamic pace and infectious rhythm of the battling emcees, not film’s rules.

In lieu of a plot, Wild Style captures the singular atmosphere of the period it was filmed in, when hip-hop culture was thriving and art curators had begun to look to graffiti artists to fill their galleries. That uneasy turning point in the culture is chronicled here through the perspective of Zoro (real graffiti “writer” Lee Quiñones), a young artist who looks on with disdain as his peers embrace the commercialization of their medium by NYC’s art world. (As he shrewdly puts it, risk is central to graffiti’s identity — made for subway cars and walls, not framed canvases.) Brilliantly capturing the freewheeling spirit of NYC’s hip-hop scene, this is a time capsule that never feels dusty thanks to the appropriately off-the-cuff filmmaking.

Genre: Drama, Music

Actor: Busy Bee, Daze, Dondi, Fab 5 Freddy, Grandmaster Flash, Lady Pink, Lee Quiñones, Nathan Ingram, Patti Astor, ZEPHYR

Director: Charlie Ahearn

Rating: R

Exploring morality, conscience, and the death penalty, There Is No Evil tells four interconnected stories about men tasked with carrying out executions. The film excels at creating a sense of unease and tension as their reality contends with their beliefs about capital punishment and loyalty to the state. Director Mohammad Rasoulof (known for his films that explore social and political issues in Iran) allows each narrative to center both the subject and the institution, maintaining suspense but never straying from its argument. The sum - and its part - are undeniably profound.

Genre: Drama

Actor: Mahtab Servati

Director: Mohammad Rasoulof

A road trip movie with an unknown destination, Hit the Road plays with our expectations by avoiding any obvious questions we might have, and making us focus on the real important things. Informed by the censorship and persecution faced by critics of Iran's government—including director Panah Panahi's own filmmaker father, Jafar—the film places more focus on the very act of escape and what that can take from a family. And most importantly, through Panahi's skillful direction of rural Iran's varied, beautiful landscapes, he creates a conflicted relationship between character and setting, with entire emotional crescendos playing out just through a single shot of the environment. It's one of the most underappreciated movies of the year.

Genre: Comedy, Drama

Actor: Amin Simiar, Hasan Ma'juni, Pantea Panahiha, Rayan Sarlak

Director: Panah Panahi

Even a straightforward documentary on the New York East Village visual artist David Wonjarowicz (pronounced VOY-nuh-ROH-vitch) would be thrilling, given the energy and the irreverence of his artworks especially during the AIDS epidemic from the 1980s to the 1990s. But director Chris McKim goes above and beyond, essentially imagining how Wojnarowicz would have directed his own film. McKim treats the movie like a collage in itself, expertly blending footage and sound together not just to capture the artist's fury, but to remember how deeply he loved, transcending space and sickness. As an account of the underground New York art scene at the time, a profile on a supposed enfant terrible, and a tribute to all those who lost their lives to a disease accelerated by discrimination, Wojnarowicz is a beautiful, complex tapestry.

Genre: Documentary

Actor: David Wojnarowicz, Fran Lebowitz, Nan Goldin

Director: Chris McKim

I’m Not There is an unusual biopic in that it never refers to its subject, Bob Dylan, by name. Instead, Todd Haynes’ portrait of the singer mimics his constant reinvention by casting six separate actors to play as many reincarnations of the same soul. It’s an ingenious spin on a usually stale genre, one that liberates the film from the humdrum restrictions of a literal retelling of Dylan's life.

If there’s anyone who warrants such an inventive approach to biography, it’s Dylan, whose public and private personas are so numerous that it’s only by angling six different mirrors at him that Haynes can hope to catch some of his essence. Impressionistic editing toggles freely between these vignettes, each visually distinct: from the 11-year-old Woody Guthrie-obsessive (Marcus Carl Franklin) and the black-and-white Super 16mm-shot poet (Ben Whishaw) to the aging cowboy outlaw (Richard Gere), all by way of Christian Bale, Heath Ledger, and Cate Blanchett’s incarnations. To be sure, this is a somewhat challenging film, reflecting, in places, the enigmatic surrealism of Dylan’s lyrics and his refusal to be pinned down to one thing. But, as Blanchett’s embodiment says, “Mystery is a traditional fact,” and that’s no more true than of Dylan, making Haynes’ film a fascinatingly fitting spiritual biopic.

Genre: Drama, Music

Actor: Alison Folland, Andrew Shaver, Andrew Simms, Angela Galuppo, Arthur Holden, Ben Whishaw, Benz Antoine, Bill Croft, Bob Dylan, Brett Watson, Bruce Greenwood, Cate Blanchett, Catherine Colvey, Charlotte Gainsbourg, Christian Bale, Craig Thomas, Danny Blanco Hall, David Cross, David Gow, Dennis St John, Dominic James, Don Francks, Emmanuel Schwartz, Eric Newsome, Eugene Brotto, Fanny La Croix, Garth Gilker, Gordon Masten, Graham Cuthbertson, Greg Kramer, Heath Ledger, Holly Uloth, Ivan Freud, Jane Gilchrist, Jane Wheeler, Jason Cavalier, Jennifer Rae Westley, Jesse Todd, Jessica Kardos, Jim James, Jodie Resther, Joe Cobden, John Koensgen, Julianne Moore, Kathleen Fee, Kim Gordon, Kim Roberts, Kris Kristofferson, Kristen Hager, Kyle Gatehouse, Kyle Switzer, Larry Day, Leif Anderson, Leigh Ann Taylor, Lina Roessler, Lisa Bronwyn Moore, Lorne Brass, Maggie Castle, Marcus Carl Franklin, Marie-Julie Rivest, Mark Camacho, Matt Holland, Matthew Boylan, Matthew Harbour, Melantha Blackthorne, Michelle Williams, Nathalie Girard, Noel Burton, Patrick Costello, Paul Cagelet, Paul Johnston, Paul Spence, Pauline Little, Peter Friedman, Phyllis Gooden, Pier Paquette, Pierre Leblanc, Pierre-Alexandre Fortin, Richard Gere, Richard Jutras, Richard Robitaille, Richie Havens, Rob Burns, Roc LaFortune, Sharlene Royer, Shawn Baichoo, Steve Godin, Susan Glover, Terry Haig, Thiéry Dubé, Tim Post, Trevor Hayes, Tyrone Benskin, Vito DeFilippo, Wyatt Bowen, Yolonda Ross

Director: Todd Haynes

Rating: R

Putting the inherent eeriness of stop motion animation to perfect use, Charlie Kaufman and Duke Johnson's Anomalisa create a legitimately disturbing experience of a man's paranoid delusions, as he tries desperately to make a real human connection while perceiving everyone around him as the same person. It's that (unfortunately) rare animated film that understands that this medium can tell complex, even terrifying, stories for grown-ups while respecting their intelligence. And it's still gorgeously put together, with seamless movements from the character puppets and evocative lighting and cinematography that puts the film firmly in the uncanny valley. It's a tougher watch than it looks, but the depth of feeling it captures is nothing short of totally human.

Genre: Animation, Comedy, Drama, Romance

Actor: David Thewlis, Jennifer Jason Leigh, Tom Noonan

Director: Charlie Kaufman, Duke Johnson

Rating: R

Director Crystal Moselle based Skate Kitchen on NYC’s eponymous crew of young female skateboarders, who actually play fictionalized versions of themselves here. That real-life casting lends the film a documentary-esque quality: the girls’ bantering chemistry and die-hard loyalty feel warmly authentic, and the movie would be well worth a watch just to bask in this vibe alone.

The Skate Kitchen girls are an eclectic bunch, but what’s so refreshing — and therapeutic — about the film is that they’re also deeply, instinctively empathetic. These misfits don’t just tolerate but celebrate one another’s uniqueness and respect their differing boundaries (the way the girls and the movie treat shyness as a feature rather than a flaw to be resolved is particularly moving). What’s more, in its own low-key way, Skate Kitchen is an inspirational watch for its portrait of young women building the sanctuary they need themselves — not just in a largely male subculture but on a broader canvas, too. Rather than skulk anxiously on the sidelines, the girls use skating to carve out a space of their own in New York, a way to make the big, scary city feel warm and intimate. Amidst all the steezy ollies and clean rail grinds, these might just be the greatest tricks they pull off.

Genre: Comedy, Drama

Actor: Ajani Russell, Darlene Violette, Dede Lovelace, Elizabeth Rodriguez, Hisham Tawfiq, Jaden Smith, Javier Nunez, John Palumbo, Kabrina Adams, Kobi Frumer, Nico Hiraga, Nina Moran, Rachelle Vinberg, Samuel Smith, Tashiana Washington, Taylor Gray, Thaddeus Daniels, Tom Bruno

Director: Crystal Moselle