Movie Suggestions by MoviesLike

A beautifully intertwined love story showing the ups and downs of a father, his ex-wife, and their children experiencing love. The film weaves the three love stories of the different generations seamlessly and leaves you caring deeply about the characters. It has an amazing soundtrack added to fantastic acting that will make you feel as though you are living the same experiences as the quirky, screwed up family. It's a movie for anyone in the mood for a romantic comedy with a little more substance than your average rom com.

Dorky kid Greg Gaines (played by the brilliant and unlikely named Thomas Mann) has severe issues with closeness (he calls his best friend a “co-worker”) and is instructed by his mother to befriend Rachel (Olivia Cooke), a girl recently diagnosed with cancer. Far from being an indie tear-jerker, though, “this isn't a touching romantic story”, as Greg's narration reminds us. This is not least to the quirky nature of the film and the third titular character Earl, Greg's closest co-worker, who acts as the moral glue between Greg and Rachel.

In addition to hilarious writing and amazing performances, the film is laced with pop-cultural references by way of the movies that Greg and his Earl shoot in their spare time – spoofy takes on cult movies with titles like Sockwork Orange. Moving without being melodramatic, Me and Earl and the Dying Girl is a charmingly off-kilter fish-out-of-water plot about making friends, dealing with death, and enjoying life best as one can.

This documentary starts with Alex Lewis, who gets into a motorcycle accident and wakes up in the hospital not knowing who he is. He doesn’t remember anything (not even what a bicycle or a TV is, or who his mother or father are), but he remembers his twin brother, Marcus. When Alex gets back into his childhood home, he’s full of questions, and Marcus is full of answers. However, slowly, Marcus realizes his power to reshape Alex’s version of their past. Marcus leaves one important detail from Alex’s life that makes this documentary (as if it wasn’t already) such an insane story. I know I said it’s a sad movie, but it’s also fascinating and, ultimately, humanizing of the brothers’ experience.

Understated in budget but lavished with praise, this semi-autobiographical drama by Daniel Destin Cretton flings its audience into the chaotic lives and personal crises of at-risk youths and the passionate social workers that aid them. In his first feature film, the young director draws the viewers into the storm of events and the emotional ups-and-downs of social work in America, going from uplifting to depressing and back – and every emotion in-between.

Set in the real-life and eponymous group home Short Term 12, devoted but troubled foster-care worker Grace is played by Brie Larson, whose shining performance in her first leading role was lauded by critics. Fans will also recognize the supporting actors Lakeith Stanfield and Rami Malek, who broke out in this movie. Short Term 12 is now considered one of the most important movies of 2013 – some say of the decade – owing to its immaculate writing, intimate camerawork, and gripping performances.

How far would you go to help a friend? The answer to this question might turn out quite differently after you have lived through the 2-hour squalor of 4 Months, 3 Weeks and 2 Days. Set in the bleak late-1980s reality of Communist Romania, under the ironclad rule of Stalinist dictator Nicolae Ceaușescu, Anamaria Marinca and Laura Vasilu play Otilia and Gabriela, two small-town students. Otilia volunteers to help Gabriela go through with an illegal abortion, which takes place in a shoddy hotel room with the help of a man named Bebe (played by Vlad Ivanov). When things don't go as planned, they find their situations quickly going from very bad to outright horrible. Powerful performances, a realistic script, and director Cristian Mungiu's technical finesse create an experience that will force you to relive the desperation the two women must endure. Little wonder that it won the Palme d'Or at Cannes in 2007.

Poland's nomination for Best Foreign Language Film at the 2020 Academy Awards may have lost to Parasite, but director Jan Komasa's film is still utterly compelling. The crazy sounding premise is inspired by true events: after having had a transformative experience in jail, an ex-convict, played by the wiry, blue-eyed Bartosz Bielenia, decides he wants to become a priest. When he is told that his criminal history prohibits it, he goes down the path that got him into trouble in the first place and just pretends he is. Apparently, he does so quite convincingly—and serves the community well, which is collectively grieving for the victims of a tragic accident. For all his charisma, there's no way not to root for the crooked clergyman conning his way to the top. The complex character at the heart of Corpus Christi is refreshing and three-dimensional, and the smart writing of the film excels at exploring they grey areas of truth and religion. The ending, too, circumvents the soppy and the melodramatic. Thought-provoking European drama.

This 140-minute Brazilian drama is an epic and touching tale of two sisters torn apart. In 1950s Rio de Janeiro, Eurídice, 18, and Guida, 20, are inseparable, but their dreams soon take them away from each other, from their conservative family, and from Brazil.

After they are separated, each one of them believes the other is achieving her dreams when often the opposite was happening. Family betrayal, silence, and a suffocating social climate shatter the aspiration of the sisters but also highlight their strength.

The British social-critical director of I, Daniel Blake and The Wind That Shakes the Barley, Ken Loach, delivers another scathing indictment of our economic system, the slashing of worker protection, and the gig economy. While these are indeed the themes of this affecting drama, Loach always makes it about the people. In this case, a struggling family man who tries to turn his life around by working in package delivery. Gig economy workers are usually freelancers who own their trucks and are made fully responsible for packages until they reach their respective recipients. From peeing in a bottle to save time to seamless monitoring by an overlord hand-held device, Sorry We Missed You manages to capture the indignity and gives you an intimate introduction to the human cost of having everything delivered to your doorstep at a moment's notice. Thanks to Loach's use of amateur actors, it has a raw and real feel to it without being melodramatic. Sorry We Missed You makes sure that the habitually unseen take center stage.

Two angels wander the streets of a monochrome Berlin, invisible to the colorful world that bustles around them. When one of them falls in love, he begins to question his place and yearns to give up immortality to join the ranks of the living. Wim Wender’s exceptional film is a poetic meditation on faith, cinema, and a mournful tour of a city in the grip of the Cold War. 

Wings of Desire is bursting with poetry and heartbreaking humanism emphasized by the tender performances by Bruno Ganz, Otto Sander, and Peter Falk, while serving as a beautiful love letter to a city yearning for change. If you’ve only seen City of Angels, the loose American remake, then you owe it to yourself to experience the raw poetic power of the real deal.

An old friend shows up on the doorstep of a happy family home and brings a whirlwind of trouble with him. Charles Burnett’s startling parable is tinged with magic and creeping danger. It digs into the tensions between African American folklore of the rural South and the assimilated middle-class lifestyle out West. 

This rift takes the form of Harry, whose disquieting presence throws his old friend Gideon’s Los Angeles home into disarray. Danny Glover is captivating as the devilish visitor, delivering each line with playful ease and simmering menace. Burnett’s sly narrative doesn’t boil down to good and evil but instead offers a layered and enigmatic exploration of identity.

A woman yearns to find her biological mother, another woman struggles with infertility, a third wants to connect with her rebellious daughter. Director Mike Leigh has the prowess to seamlessly weave these stories together, and part of the joy is knowing, that like clockwork, these narratives are set on a spectacular collision course.

As melancholy as it is optimistic and as funny as it is tragic, Secrets & Lies is a perfect example of Leigh’s oeuvre and earned him a Cannes’ Palme d’Or. The film features a full cast of his regulars with the fantastic addition of Marianne Jean Baptiste as Hortense - the woman who sets the wheels of the film in motion.

In 2008, legendary and controversial director Darren Aronofsky delivered yet another unforgettable allegory, starring Mickey Rourke as Randy "The Ram" Robinson, an aging professional wrestler long past his prime, who is struggling to retain a sense of identity, purpose, and dignity later in life. Rourke, who worked as a professional boxer in his 90s and, like his protagonist, almost hung his hat at the time the movie was shot, delivers a once-in-a-lifetime performance that rightly earned him a Golden Globe. Everybody talked about this movie when it came out! Marisa Tomei's performance, who plays the mid-40s stripper The Ram pursues a serious relationship with, was also deemed iconic by some critics. Shot on 16mm film, The Wrestler's cinematography, like its acting, feels incredibly raw, intimate, and realistic. It is essentially about bouncing back, making amends, and growing old and features acting performances that will be remembered for a long time. One for the books!

There are movies that leave you matured after you finished watching. You mature because you are forced to walk in someone's shoes and confront yourself with issues that you are not affected by. The Sea Inside is one of those movies –⁠ and won an Academy Award and a Golden Globe for it. Directed by Alejandro Amenábar, who you might know as the director of The Others, it tells the true story of Ramón Sampedro's decade-long fight for the right to end his own life. After he became quadriplegic after a diving accident, he was confined to the same bed in the same room for 26 years, except when he visited the hospital. Not an easy subject to say the least but Amenábar helps the fascinating story along with stylish directing, while Javier Bardem delivers a stellar performance to go with it. Thanks also to Ramón Sampedro's sunny real-life nature, this heart-wrenching watch also has plenty of uplifting moments.

Mark Ruffalo, Anne Hathaway, and Tim Robbins star in this well-executed and eye-opening drama based on a true story. Robert Bilott (Ruffalo) is a successful corporate lawyer in New York. He is visited by a distressed farmer from his hometown in Cincinnati whose cows have been developing strange behaviors and diseases. Robert decides to take on this case in what will become one of the biggest class-action lawsuits in the country: the use of cancerous chemicals by the company that commercializes Teflon (the stuff in pans). Excellent acting in an incredibly frustrating but necessary story that will trouble you more than any other legal thriller you have watched in the past: prepare to be outraged (and throw away your pans).

On their drive back from a Tinder date that was only average, a couple are pulled over by a racist police officer. Things escalate unexpectedly and the couple, one of whom is a lawyer aware of the corruptedness of the system, start a life on the run together. This thrilling set-up mixing social commentary and romance is a movie that's actually many movies in one. And almost as if to cut in-between the different tonalities, there are so many quiet and beautiful shots of the couple: silent, still or dancing - these moments are true cinematic magic. 

Sisters Martine and Filippa, daughters of a founder of a religious sect, live a simple and quiet life in a remote coastal village in Denmark. Throughout the course of their lives, they reject possible romances and fame as part of their commitment to deny earthly attachments. This is upended by the sudden arrival of a French immigrant named Babette, who served as their house help to escape the civil war raging in her country.

Babette’s Feast is an inquiry into simplicity and kindness, and whether these would be sufficient to achieve a life of contentment. The religious undertones perfectly fit with the film’s parable-like structure, where bodily and spiritual appetites are satisfied through a sumptuous feast of love, forgiveness, and gratitude.

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.

This is a gorgeous French-Canadian movie with out-of-this-world sound work.

Laurence is deeply in love with his girlfriend, Fred. On his birthday, he announces to her that he wants to restart his life as a woman, having always hated his male body. Fred doesn't know how to take the news: “everything I love about you is everything you hate about yourself”.

Laurence Anyways is about how their romance continues after this revelation. There are so many reasons to watch this movie: the story, the acting, the cinematography; but trust me, the soundtrack alone is reason enough.

This is the latest Oscar-nominated movie by Spain's highest-regarded director, Pedro Almodóvar. It's his most personal work to date, being a slightly fictionalized account of his youth and then the last couple of years. He is mostly portrayed by Antonio Banderas, who was also nominated for an Oscar for this role; while another star performance comes from Penélope Cruz who plays his mother in the flashback scenes. Pain and Glory is about life in the arts: how a tormented artistic personality is formed, the days of focusing on work over relationships, and dealing with the consequences later in life. It begs the question: in Almodóvar's life, was the glory that got him to making as great of a movie as this one worth the pain?

Annette Bening, Greta Gerwig, and many other big names star in this comedy-drama directed by Mike Mills (Beginners, Thumbsucker.) The story spans multiple generations but starts in 1979, where Dorothea Fields (Bening) is finding it increasingly difficult to raise her son alone. She enlists the help of two other women, one her son’s age and the other a New Yorker in her twenties who is very active in the punk scene. The three women, of three different generations and personalities as well as takes on the concept of “only a man can raise a man,” play different roles in this kid’s life. 20th Century Women is based on director Mike Mill’s own upbringing in Southern California.

Koreeda is a master of the tender gaze. He deals so softly, elegantly, and emphatically with the characters in his films, it will make you feel like you're watching life itself in all its complex, emotional splendor. Maybe this is particularly true for this movie because it has been inspired by Koreeda's memories of his own childhood and the passing of his mother. Still Walking is a quietly toned movie spanning a period of 24 hours in the life of the Yokoyama family, as they gather to commemorate the passing of their eldest son. At the center of the story is the father, an emotionally distant man who commands respect both from his family and community. Opposite from him sits the other son, the black sheep, who seeks his father's validation. Directed, written, and edited by Koreeda, this dynamic is one of many in this slice-of-life movie about how families deal with loss. And, however distant the culture or setting in Japan may seem to the outsider, you're bound to recognize either yourself or your family among the tender scenes of this masterful drama.

A flawless Daniel Day‑Lewis stars in this thought-provoking romance. He plays a successful dressmaker in post-second-World-War London who falls for a waitress while on an excursion to the countryside. It's hard to tell you what this movie is about without ruining the story for you but I can tell you how it made me feel: it kept me guessing the whole time. Day-Lewis' character is so masterfully played that I felt that every move he made was calculated and that every line meant something. Plus, expect stunning dresses, beautiful country-side sequences, and an all-around gorgeous aesthetic experience.

This bittersweet film about a father and a daughter marks one of the more tender spots in Claire Denis’ brilliant filmography. Frequent collaborator Alex Descas plays Lionel (the father), while Mati Diop, now a director in her own right, plays Josephine (the daughter.) The film captures the two at a crossroads, with their closely-knit relationship tested as Josephine grows closer to her boyfriend, and Lionel must face the possibility of finally letting her go.

A melancholy lingers in the air as we learn more about their lives and the small community of neighbors and coworkers in their orbit. Meanwhile, the film's climax holds a mesmerizing sequence set to the Commodores’ Nightshift, which has to rank as one of the best needle drops in cinema from a director who already has an all-timer under her belt. (see. Beau Travail)

Joachim and Ceilie are engaged to be married when a car crash leaves the former paralyzed. While Joachim recovers in the hospital, Ceilie becomes entangled with his doctor—who also happens to be the husband of the woman who caused Joachim’s accident. What transpires after is not unlike a car crash itself: gut-wrenching to watch, impossible to look away from.

Although the film’s premise toes the line of melodrama, Susanne Bier handles the characters with extraordinary care. Elsker dig for evigt (Open Hearts) boasts incredible performances from its core cast of four, with Mads Mikkelsen and Paprika Steen particularly shining. This is not an easy nor feel-good movie to sit through, but its unflinching gaze at complicated characters in a tragic situation makes for a rewarding journey.

The self destructive, substance abusing history teacher Dan (Ryan Gosling) works in a Brooklyn middle-school and is constantly at odds with the curriculum, preferring to teach 13 year old kids Marxist theory in class. Meanwhile, his student Drey (Shareeka Epps) has to go through struggles of her own, her brother being in jail on drug charges and her single mother having to work long hours to make ends meet. Slowly, an unlikely and tender friendship between teacher and student evolves, in which it becomes less and less clear who of them is the adult part. Steering away from cliches, Half Neslon is not your typical social drama. Its intelligent plot twists, great cast (with outstanding performances by both Gossling and Epps) and slow, non dramatic storytelling makes this a highly underestimated movie that, although treating depressive topics without any easy relief for the viewer, will leave with an inner smile, albeit a sad one.

Directed by David Cronenberg, Eastern Promises is at times brutal—such is the famous Canadian director's trademark—and operates at a fever pitch of grim violence and revenge. Starring a tattooed, ruthless, and terrifying Viggo Mortensen as a very convincing Russian strong-arm gangster as well as Naomi Watts and Vincent Cassel, it features intense psychological drama and a gritty crime story. Midwife Anna (Watts) delivers the baby of a 14-year-old Russian prostitute, who dies while giving birth, and later learns that she was forced into prostitution by the Mafia. To keep this knowledge from seeping out, she gets entangled deeper into London's criminal underbelly, whose various factions and languages are aptly showcased by Cronenberg. Add to all this a smart script and Mortensen's daring performance and you have yourself an intense auteur thriller in signature Cronenberg style.

A hot summer night, around 2 a.m. You're outside talking with a close friend about life, happiness, and the human condition. That quality and depth of conversation, which you reach at best a couple of times a year is present throughout the 106 minutes of The End of the Tour.

In the case of this movie, you become the witness of five days of conversation spent between two fine writers: the once-in-a-generation American author David Foster Wallace and best-selling Rolling Stone journalist David Lipsky, as they travel the US during the 1996 publicity tour for the former's magnum opus, Infinite Jest. Twelve years later Wallace will commit suicide.

Like a good podcast, the James-Ponsoldt-directed road movie makes you feel being part of a deeply personal conversation of the kind you would have with a long-time friend. At times, it can feel like eavesdropping on a genius at work. This effect is helped along by a flawless Jason Segal, who delivers an award-worthy performance as DFW. The fierce intelligence exuded by Jesse Eisenberg as David Lipsky is also nothing short of amazing. As they stuff their faces with junk food, their conversation is insightful, immediate, and unpretentiously relevant, making The End of the Tour a rare and important film.

Love is Strange is an even-handed drama about a Ben and George (John Lithgow and Alfred Molina), a loving couple who marry after 39 years of companionship, only to face a series of unexpected consequences of their decision. George is fired from his position as a music teacher, they’re forced to sell their home, and they find themselves living separately with various friends and relatives. The story revolves largely around their time apart, as they struggle in their separation while creating unintended commotion in the lives of their hosts. It’s a warm, wryly amusing and ultimately very touching film about the bonds of love and dedication. It may seem slow at times, but to watch it through to the end will lead you to realize how truly special it is.

A sweet feel-good movie starring Nick Offerman as a dad who has to deal with his only daughter leaving for college and his record store struggling. The daughter is played by Kiersey Clemons who you might recognize from the show Easy. And Ted Danson has a great role too. This is a relatable and heartwarming movie, one of the best the so-called "indie" genre has known in a long time.

An easy yet original coming-of-age story about Simon, a high-schooler with great parents, great friends, and one big secret he's not telling either. It's not a particularly complex movie, and it may not be one you'll remember forever, but it's very easy to have a pleasant time watching it. And if you're OK with that, its takes on finding one's identity and the negative impact of keeping secrets from our loved ones might surprise you in their depth. Love, Simon is a reminder that movies don't have to be religiously realistic to get a heartfelt new story across. It's entertainment with a message, the same way Juno or The Perks of Being a Wallflower were.

This crazy heist movie is told in a very original way. Because it's based on a true story, the movie (with actors and a story) is sometimes interrupted by the people it's about. The opening scene even reads: "this movie is not based on a true story, it is a true story". Two friends decide to rob their local library from rare books worth millions. They're driven by money but also by wanting something different than their monotonous everyday lives in Kentucky. The need for a change is a big theme in this movie, but the story and the way it's told never cease to be breathtakingly thrilling. American Animals stars amazing actors like Barry Keoghan (Dunkirk), Evan Peters (Kick-Ass), and many more; but perhaps equally as notable is the director: Bart Layton, who is fresh from his amazing 2012 sleeper-hit The Imposter.

The Tragically Hip was a deeply beloved band from Ontario that peaked in the 90s with hits like Grace, Too or Nautical Disaster. The Hip, as their fans refer to them, had just finished recording their latest album in 2015 when the lead singer was diagnosed with a fatal disease. This movie is about them deciding to go on one last tour to say goodbye to their fans and country. Mostly, it’s about the singer, Gord Downie, and how his personality and love for the music shined through his illness. Picture someone who is giving an immaculate performance despite being a few weeks away from death, and a packed stadium of people singing along in tears - this is this movie. It’s truly an incredible story of human ambition, empathy, and the bond that music can create between an artist and a whole nation.

Abbas Kiarostami delivers a tale of towering simplicity. A young boy mistakenly takes his friend’s notebook home and, knowing the friend faces expulsion without it, goes on a journey to bring it back. He visits the neighboring town but without a clue where his friend lives must rely on the kindness of strangers and overcome the stubbornness of adults who get in his way.

This adventure is both a loose moral parable as well as a striking portrait of life in rural Iran. More than this, it’s a testament to the capacity of children’s films to communicate depth when the filmmaker respects a child’s intelligence. The earnest young actors at its heart add an emotional immediacy that underscores Kiarostami’s empathetic direction.

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).

Barry Jenkins’ follow up to his award-winning film Moonlight, If Beale Street Could Talk is a highly compelling tale that explores the extent of the emotional consequences of racial injustices through the lens of a young couple torn apart by the judicial system. Staying faithful to James Baldwin’s original novel while adopting Jenkins’ signature melancholic style, it fails to reach the brilliance of Moonlight, but still stands strong enough on its own and successfully tugs on your heartstrings.

A relevant and deeply entertaining movie that only has the appearance of being about politics. In reality, it is about television, and one brilliant journalist’s pursuit of the perfect interview.  Richard Nixon stepped away from the public eye after the Watergate scandal, and was counting on a series of interviews three years later to redeem himself. His team assigns an unlikely reporter to sit in front of him, a British reality TV host named David Frost. Both men have everything to gain from this interview by going against each other, as Frost tries to extract a confession of wrongdoing in Watergate that Nixon never gave.  Who will win? The master manipulator or the up-and-coming journalist? Frost / Nixon was originally a play, and this adaptation is full of drama and boosts great dialogue.

A unique movie about a near-future society obsessed with couples; viewing couples as the norm, as opposed to single people who are viewed as unproductive and undesirable. In that way, the film shows David (Colin Farrell), a newly single person who is transferred to the Hotel, a place where single people have just 45 days to find a suitable mate, and if they fail, they would be transformed into animals of their choice. While the film’s original premise may not be everyone’s cup of tea, The Lobster will prove a goldmine for people who are into a Kafkaesque, absurdist mentality, or anyone looking for an idea-driven experience.

Strictly Ballroom is an energetic, fun and hilarious movie. Baz Lurhman does an incredible job telling the story of a rebellious young dancer who just wants to dance his own steps in the face of conformity. When he finds an inexperienced yet determined dance partner it's the beginning of an unexpected love story like no other. This movie isn't like the usual rom-com, it has colour, vitality and passion. It's a Moulin Rouge but with even more character, and the work that put Lurhman on the map for everyone.

A film written by screenwriter Charlie Kaufman, about screenwriter Charlie Kaufman as he struggles to adapt a book about poaching a rare plant into a successful movie. Through Kaufman's clever writing and Spike Jones' unique style of directing, the film unfolds using "mise en abîme" as the viewer sees the lessons the writer in film comes across to improve his script more or less subtly influence the events he encounters as the narrative advances. Nicolas Cage's performance is also particularly good as a highly intelligent and self-obsessed screen writer with low self-esteem.

Sunshine Cleaning is a great addition to that unidentified genre of grown-up comedies populated by other great entries like Your Sister's Sister and Enough Said. It is however, less of a comedy than it is a heart-warming emotional tale. Powered by outstanding performances from Amy Adams and Emily Blunt, it ultimately evolves into a character study of failed potential and validation seeking. Sunshine Cleaning is enjoyable, satisfying to a fault, and provides an interesting peak into the lives of its characters.

The Station Agent is about loneliness, change and friendship. Sounds corny right? It’s not. The characters are developed, they have their own reasons for the choices they make and nothing feels forced, neither actions or conversations. It’s a small and wonderful movie about a little man that moves out of the city and his comfort zone when his only friend dies, moves to said friend’s old train station and sets his life there. From there on it follows his social interactions with a slew of people, the relationships he forms with them. Oh, and the little man? Peter Dinklage (Tyrion Lannister), who pulls off a great performance, albeit a quiet one.

The Secret of the Grain is a saga of the immigrant experience and a packed 151 minutes of diverse storylines and themes that could have each been a film on their own. 

Slimane Beiji is a Tunisian immigrant in the French port city of Sète. His large family consists of two units: his ex-wife Souad, with whom he has many children, and his current partner Latifa who own a run-down hotel where Slimani lives. Slimani gets fired from his shipyard job and is pushed by the children from his first marriage to return to Tunisia, where he can lead a quiet life. But Rym, his current partner’s daughter, convinces him that he can still be happy in France if he pursues his dream: to open a restaurant on a boat he owns that would serve his ex-wife’s unique couscous with fish recipe. Slimani chooses to rekindle his immigrant dream.

It's a beautiful and rich slice-of-life film about immigrant life in Southern France. Slimani's charachter is based on the filmmaker's father. 

What starts as an unsettling drama quickly morphs into a searing psychological thriller. The film, based on a play of the same title, tells the story of Tom, a young man who while attending his boyfriend’s funeral, stays with the grieving family unaware of his relationship with their son. During his stay, Tom becomes subject to the violent whims of his boyfriend’s brother. 

The intense psychosexual dynamic that develops becomes a piercing examination of homophobia, masculinity, and violence. Dolan’s expert direction keeps a level of intensity that grips and never let’s go until the gorgeous closing sequence. At times brutal and cruel, Tom at the Farm may be a tough watch, but its portrait of simmering regressive violence speaks vividly and directly to our current moment. 

Andy Goldsworthy is a British sculptor, photographer, and environmentalist, whose art is specific to the natural locations he creates them in and made only from the natural materials he finds in them. This is putting it very technically: Goldsworthy is a solitary wanderer, absorbed in the moment, unworried about what comes after him. Using often only his bare hands, he creates fleeting works of art that often looks like nature itself could have created them. The opening has him calmly forming a spiral out of icicles using the heat of his hands to fuse the pieces together. As painstaking as this process is, his art is not meant to live forever. Once completed, it is handed over to the rivers and tides to do with it as they please. Directed, shot, and edited by Thomas Riedelsheimer, a German filmmaker, Rivers and Tides takes an in-depth look at Goldsworthy's ideas and craft, everywhere from upstate New York to his home village in Scotland. A calming and inspiring journey.

Former activists Ben Cash (Viggo Mortensen) and his wife Leslie drop out from modern consumerist society to raise their six children in the wilderness of the Pacific Northwest. They teach them how to raise and kill their own food, to survive in nature through boot-camp-like workouts, and homeschool them in literature, music, and left-wing philosophy. Instead of Christmas, they celebrate Noam Chomsky's birthday. Then, one day, this unusual family life is shaken by a phone call and they are forced to leave their life of adventure to reintegrate into American life.

Directed by Matt Ross, who also brought you Good Night, and Good Luck, the film offers a poignant look at alternative living, the effects of modern technology, and the nature of good parenting. Viggo Mortensen is indeed fantastic as the grizzled father and was rightly nominated for a Golden Globe and the Academy Award for Best Actor. George MacKay and the entire cast of “children” also deliver terrific performances. As emotionally raw and thought-provoking as it is funny, Captain Fantastic will have the viewer decide if Ben Cash is the best father in the world or the worst.

Revealing the gaps in the social safety net, I, Daniel Blake, is a tale centered around a blue collar worker navigating the welfare system in England. At a time where class and social mobility could not be more politically salient, this film calls into question the notion of the “citizen” and exposes the inaccessibility to the social protections in which one presumes entitlement. At the forefront of this, is a heart-warming parable of paternal companionship between Daniel (played by Dave Johns) and a single mother – Katie – (played by Hayley Squires) who is wading through similar terrain. The acting in the film is unfathomably raw which cultivates the deepest source of gut wrenching compassion. Ken Loach has created a film that exposes the true power of empathy, leaving you feeling helplessly human.

Called a masterpiece by many and featured on many best-of-the-21st-century lists, Director Wong Kar-wei has created a thing of singular beauty. Every frame is an artwork (painted, as it were, with help of cinematographer Christopher Doyle) in this meticulously and beautifully crafted film about the unrequited love of two people renting adjacent rooms in 1960s Hong Kong. These two people, played by Tony Leung and Maggie Cheung, struggle to stay true to their values rather than give in to their desires, while they both suspect their spouses of extramarital activities. The flawless acting, stunning visuals, and dream-like beauty of In the Mood for Love perfectly captures the melancholy of repressed emotions and unfulfilled love. The cello motif of Shigeru Umebayashi's main theme will haunt you long after you finished watching.

Danish films somehow have a unique approach to emotions that are rarely matched and this Susanne Bier-directed drama is no exception. Its protagonist is Jacob Peterson, a driven idealist played by Mads Mikkelsen, who runs a fledgling orphanage in India. Close to giving up, Peterson returns to Copenhagen to meet a billionaire, who is offering to fund his charity project. However, there is a dark secret at the heart of this relationship, throwing Peterson into disarray. This elegant and Academy-Award-nominated Danish film has it all: fantastic cast, great direction, and a few special ingredients that turn a good drama into a thrilling one!

As black a comedy as they come. Nick Naylor (superbly portrayed by Aaron Eckhart) is the chief spokesperson for tobacco and shows the world why smoking is as key to protect as any other liberal value. This movie is funny, smart, thoughtful and raises some good questions about the ego, the morale and what we leave behind, from unexpected sides.

This is the true story of Oscar Grant III, a 22-year-old Black man in Oakland, California, who was shot dead by police in the morning hours of New Year’s Day 2009. Incidentally, 2009 was also the time when smartphones started going mainstream, and so the incident was not only captured by CCTV but also many private cell phone cameras. The murder went viral.

Grant is superbly played by Michael B. Jordan in what now counts as one of his breakthrough roles, when many only knew him as Wallace in the now-legendary crime drama The Wire. Director Ryan Coogler went on making two more movies with him, including Black Panther in 2018.

Produced by Academy Award winner Forest Whitaker and compassionately told, Fruitvale Station surpasses the sadness of its subject matter and amounts to an extraordinary celebration of life. A must-watch.

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.

You know you're in for a treat when you see Julia Louis-Dreyfus and James Gandolfini heading the cast of a sweet and slightly goofy comedy. Steadily going beyond his persona in The Sopranos, you see James Gandolfini playing a role that his fans have probably always imagined him playing: a nice, funny guy with an endearing personality. Directed by Nicole Holofcener, Enough Said almost has a sit-com feel to it: a divorced single parent and masseuse, Eva (Louis-Dreyfus), is looked up by a guy, she briefly met at a party, Albert (Gandolfini). Upon finding out they have much in common, the two start dating. At the same time, she meets Marianne (Catherine Keener), who she becomes friends with and who cannot stop talking ill of her apparently awful ex-husband. You guessed it: it's her new, promising date, Albert. Things get muddy and very funny as she starts to doubt, whether she has made a big mistake. Hilarious, romantic, and smart, it's very much like we expected: a real treat.

The atmosphere in Millennium Mambo is magical. The opening scene alone will leave you enchanted, with long walks through a tunnel-like space and dreamy techno music playing in the background. We are misled into thinking that this will be a movie full of colors and dance, and to some degree, this is true, as it portrays Taipei and its neon colors of green, pink, and blue, featuring dance sequences in a bar that serves flashy drinks. But as the movie develops, a chilling shadow is cast as we become entangled in a brutal relationship that is as full of cruelty as it is of love and lust. Narrated from the future, the story shows how the present-day protagonist, Vicky, grapples with her identity as she looks back upon her past self from ten years ago.

Chaotic, messy, but also peppered with moments of serenity and shot with flawless camerawork and cinematography, Millennium Mambo makes time feel fluid, and serves as a reminder that no matter how rough the journey may be, everything is always okay in the end.

Directed by celebrated artist-turned-filmmaker Julian Schnabel, who won an award in Cannes for it, The Diving Bell and the Butterfly is the true story of the Parisian journalist and fashion editor Jean-Dominique Bauby (Mathieu Amalric), who suffered a devastating stroke at the age of 43. Paralyzed almost completely by what is termed locked-in syndrome, his left eye was the only part of his body that he was still able to move. In a Herculean effort, Bauby learned to blink in an alphabet code that eventually enabled him to communicate. The film alternates between Bauby's interaction with his visitors and caretakers (including painstakingly dictating his memoir, the titular Le Scaphandre et le Papillon) and dream-like fantasies and memories of his life prior to paralysis. The title alludes to this juxtaposition: the diving bell representing his final state of isolation, akin to a deep-sea diver under a bell, and the butterfly as a symbol for his blinking eye and the freedom he has in his mind, dreams, and imagination. Shot from Bauby's perspective, we see what he sees. Be it his divorced but loyal wife and his family visiting him, or his old father, played by Max von Sydow, which is probably the scene in this fascinating movie that will make you lose it and weep like the rest of us.

Joshua Oppenheimer's daring feat is a documentary unlike anything ever done. Despite it being one of the most difficult things to watch for any human being (or because of it), The Act of Killing received praise across the board, including an Academy Award nomination. Without Oppenheimer's efforts, you might have never heard of the unspeakable events that happened when, in 1965-66, Suharto overthrew the then-president of Indonesia and a gangster-led death squad killed almost a million people. Did they pay for their crimes? Quite the contrary: said gangsters went on becoming political mainstays in modern-day Indonesia, are still now heralded as heroes, and admit to all these crimes with a smile and not a hint of regret. The gruesome twist of this documentary is that Oppenheimer asks them to re-enact the killings in surreal, sadistic snuff movies inspired by the murderer's favorite action movies. You are forced to stand idly by as they re-create brutal mass murder and joke about raping a 14-year-old. However, somewhere amidst this terrifying farce, the killers, too, have fleeting moments of realization that what they're doing is wrong. If you make it through this in one piece, try watching its more victim-focused follow-up The Look of Silence. Bone-chilling but very powerful stuff.

This slow-burning drama is set in an Indigenous reservation in South Dakota, where Johnny is a teenager who dreams of moving to L.A. with his girlfriend. He would have to leave behind his little sister, who is just grappling with the recent loss of their father. 

Director Chloé Zhao (The Rider, Nomadland) worked with amateur actors whose lives mirror the characters, often adapting the script to the actors' stories. She filmed 100 hours of footage that she then distilled into an hour and a half. 

The result is a film shot from the outside but which is grounded in local stories. And these stories are rough, sad, complex - but so important to listen to and understand. It's an incredible feat to make an observational film that's so grounded in reality - only a genius could: that's Chloé Zhao, and this mature work is -somehow- her first feature film.

Wendy (Michelle Williams) is a drifter driving up to Alaska in hopes of finding work. When her car breaks down, she and her dog Lucy are stranded and forced to scrounge for food and repairs, hitting one roadblock after another on her path to an uncertain dream. This sympathetic and solemn look at poverty from director Kelly Reichardt serves as a reminder of how easy it is to fall through the fragile American safety net.   

Reichardt’s uncompromising approach paired with Williams’s restrained performance makes the experience authentic and intense, recalling the work of Ken Loach. This natural sharpness makes for an engrossing watch that builds in power until the emotional release of the film’s heartbreaking conclusion. 

Director Gianni Di Gregorio’s gorgeous debut is an understated masterpiece about a bachelor who is his mother's caregiver. The movie takes place almost entirely in Di Gregorio's family home in central Rome, a beautiful, big, and well-furnished apartment that his character can't afford any longer. 

To catch a break from rent, he agrees to host the landlord’s mother while the landlord goes on holiday. The same for his and his mother’s medical bills, and the doctor shows up with yet another elderly woman.  

Di Gregorio finds himself running an impromptu elderly home, with conflicts rising about who gets to watch TV and whose dietary restrictions should be respected. But his calm demeanor, love for cooking, and a lot of white wine make him the perfect man for the job.

We all love Jeff Bridges. We all agree that we shouldn't leave a movie he won an Oscar for unwatched. That's enough reason to watch this movie, but there are so many others. The story is fantastic and based on true events: a country musician living rough and having a shot at happiness after he falls for a journalist who interviews him. The score is composed by T Bone Burnett. The journalist is played by Maggie Gyllenhaal and another musician is played by Colin Farrell. So many reasons to watch.

This is a very nice movie about a lovely older couple named Tom and Gerri. It follows their lives for an entire year, as they work at their jobs, invite friends over for dinner, and work in their garden. They live modest but fulfilling lives, and they seem mostly happy and very much in love, a rarity in the movies. This probably sounds horribly boring to most people, but since Mike Leigh is the director, the film is instead a touching and realistic portrayal of love and how people spend their time together. We should all be so lucky as to live a life as charmed as the central couple in this film.

Legend has it that director Derek Cianfrance had the co-stars and co-executive producers Michelle Williams and Ryan Gosling live together in the same house for a month in preparation of their roles. The fictional couple they play in Blue Valentine lived in the same house. True or not, this created the harsh proximity, intensity, and claustrophobia that is a hallmark of this production. Blue Valentine brings us painfully close to the couple's attraction as well as their agony.

In this way, Blue Valentine is a heart-breaking examination of the decaying shell of a once-bright marriage. As sad as it is sexy, it mixes intense flashbacks of past desire with the grim reality of married life's monotony. It boasts an electrifying performance from Michelle Williams and Ryan Gosling, who seamlessly combine tenderness and lust, rage and sadness. This is a guaranteed tear-jerker, so make sure you've brought your Kleenexes!

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.

Echoing Arthur Miller's Death of a Salesmen, Oscar-winning writer-director Asghar Farhadi (A Separation, About Elly) tells the story of a loving middle-class couple who live in Tehran, Emad (Shahab Hosseini) and Rana (Taraneh Alidoosti), who are forced to move out of their apartment. After arriving at their new place, violence erupts, upending their life and straining their previously happy relationship. Farhadi does what he does best here, delivering simmering tension, complex realism, and unaltered emotion. Originally titled Forushande, every scene of The Salesman is a privileged look for Western viewers into Iran's collective consciousness. And even with all that aside, the film still stands out as an extraordinary drama with a tense plot and outstanding performances across the board. Another incredible addition to Farhadi's first-class filmography.

Based on the book by John Le Carre, this slow-burning thriller tells the story of a half-Chechen, half-Russian immigrant suspected of terrorism, who is suddenly spotted in a big German city trying to get his hands on money that was left to him. Gunter (played by Philip Seymour Hoffman) is the head of an international counter-terrorism unit created after 9/11 to spot threats like these early on. Whether this man is a terrorist or not, what he is doing in Germany, how he fits in the grand scheme of things, and whether Gunter will succeed in his efforts - all of these are questions you will be begging to find answers for. Witty, supremely acted, and with a very provocative story line, A Most Wanted Man is perfect if you're in the mood for a sharp thriller.

“They called me uppity. Uppity n*****. And I loved it”. That’s how this excellent documentary, about the first professional black racing driver Willy T. Ribbs, starts. It summarizes the strong personality of a champion who excelled in tracks that were filled with confederate flags.

The documentary explains the details of the difficulties that Ribbs went through in the 70s and 80s, but also the people who supported him and recognized his talent. It’s by no way a sad movie, on the contrary, even when Ribbs is talking about people spitting wherever he walks or about the death threats escalating, his unharmed determination is at the center of the story.

This is an inspiring documentary about a character who never got his worth in the history books. I was full of shivers by the first half-hour mark.

This is a hilarious political comedy starring the ever-great Steve Buscemi. Set in the last days before Stalin's death and the chaos that followed, it portrays the lack of trust and the random assassinations that characterized the Stalinist Soviet Union. Think of it as Veep meets Sacha Baron Cohen's The Dictator. Although to be fair, its dark comedy props are very different from the comedy that comes out today: where there are jokes they're really smart, but what's actually funny is the atmosphere and absurd situations that end up developing.

Set in 1650 against the backdrop of the English colonization of Ireland, Wolfwalkers follows the story of Robyn, a young apprentice hunter who arrives in Ireland with her father to wipe out the last wolf pack. Completing the “Irish Folklore Trilogy,” Tomm Moore’s film is a tale of sisterhood, friendship, and acceptance told with phenomenal artistry. Beautifully animated, with warm autumn colors and refined attention to detail, the film is beyond pleasing to the eye. The outstanding voice work from Honor Kneafsey and Eva Whittaker, along with a well-written and emotionally compelling story, make Wolfwalkers a unique animation experience for young viewers and adults alike. 

This Oscar-nominated drama tells the story of the events leading up to the Srebrenica massacre, in which 8372 Bosnian Muslims were killed. It focuses on one U.N. worker who was caught between trying to protect her family, herself, and helping people in need.

The film is as horrific as it is relevant: up until the actual killing starts, people are constantly being assured that everything is under control and that there is no reason to panic. This gives an eerie feeling of resemblance to the tone many minorities in distress receive nowadays.

Still, Quo Vadis, Aida? stops at depicting any of the acts that were committed that day. Instead, it focuses on Aida’s unrelenting race against the clock to save whatever she can.

Grounded by Lesley Manville and Timothy Spall’s powerhouse performances, this gut-wrenching family drama from Mike Leigh is an acting juggernaut. Penny and Phil are a working-class couple whose marriage is rapidly deteriorating and pushed to the brink when their son, played by a young James Corden, is hospitalized. 

While Manville and Spall are centered as the leads, Leigh draws a staggering amount of depth from Corden as well as a young Sally Hawkins who plays a neighbor. Despite being one of Leigh’s grimmest films, there is still a profound sweetness lingering at the edges as the story teeters between despondency and hope.

A delightfully screwy comedy about a guy and his struggling bar (of the title). The film is full of food, music, dancing, romance, and crazy coincidences. Our hero, Zinos, has just be abandoned by his girlfriend. On top of that his bar is struggling, he’s recently thrown his back out, he desperately needs to find a new chef, and his shady brother has just come to the Soul Kitchen looking for a job after being let out of on “partial parole.” Will it all work out in the end? Of course it will! This film is a lot lighter than Akin’s previous features, but maybe after all those challenging pictures he just felt the need to have a good time, which this film definitely delivers.

A young girl is looking for her father while struggling to care for her family. The film is bleak and slow but great performances from the cast, especially the lead, will keep you engaged throughout. The story has a very real, raw, and natural feeling to it, so natural in fact that at times, you will forget it is a movie. And in many ways, it feels that Winter's Bone is to Jennifer Lawrence what The Believer was to Ryan Gosling, as her performance is nothing short of perfect.

A slow-burning US political drama, The Ides of March is a character-driven film with great performances from Ryan Gosling, Philip Seymour Hoffman and George Clooney (who is also the director and in part the writer) among many others. Taking place during the last days of the primaries, Stephen Meyers (Gosling) is an aspiring campaign staffer who uncovers a dirty truth about his candidate (Clooney). When Meyers confronts his boss (Hoffman), moral issues arise that collide with the political profession but which are not only limited to it. A smart film, The Ides of March is less of a political thriller and more of a really well made drama that delivers.

Based on a true story, The Whistleblower is the biography of a once Nebraskan police officer who volunteers for the U.N. peacekeeping mission in post-war Bosnia. Once there, she uncovers a human trafficking scandal involving peacekeeping officials, and finds herself alone against a hostile system in a devastated country. Rachel Weisz plays the whistleblower in a powerful lead role, but the true star of the movie is its director, Larysa Kondracki, who thanks to near documentary-style film-making delivers a perfectly executed political thriller with utmost authenticity.

Winning him Best Director at the Academy Awards, Kenneth Lonergan's drama Manchester By the Sea is a delicate and profound study of loss and grief—and a true triumph. Its focus on characters, well-paced unfolding as well as world-class acting are only equal to the very best of European dramas. This type of quiet exploration of the possibility that grief cannot be overcome has rarely been successful in American cinema, if ever. The last best attempt was probably You Can Count on Me. Originally a playwright, this is Lonergan's third film and Manchester by the Sea is where he unveils his full potential. It follows a depressed handyman, Lee Chandler (Casey Affleck), who leads a quiet but angry life. After his brother dies, he returns to his hometown only to discover that he is the only left to take care of his teenage nephew. There, he is confronted with his past and the blue-collar community from which he was raised. Co-produced by Matt Damon, it grossed around $80 million on a budget of $8.5 million. One of the most noted films of 2016.

Based on Fredrick Backman's 2012 best-selling book of the same name, this Swedish hit comedy-drama introduces us to Ove, an elderly man who feels like his life is over. After losing his wife, the short-fused retiree spends his days grumpily enforcing block association rules in his neighborhood. He is your typical unhappy, old neighbor, somebody you would try to avoid. One new family does not give up and befriends Ove, played by an impeccable Rolf Lassgård, despite his best intentions to put them off. As the plot unfolds, however, you learn more about the story behind the man, and, in classic walk-a-mile-in-his-shoes fashion, start to find him rather loveable. After all, nobody is born grumpy and cynical. Naturally, this is a sweet and sentimental film. But an amazing lead performance and a charming, darkly funny script rescue it from drifting too far off the shore. The result is a wholesome, fun, and thoughtful dramedy with a beautiful message.

The 2016 outing of South-Korean auteur director Park Chan-wook (maker of Oldboy and Stoker) once again shifts attention to the dark side of what makes us human: betrayal, violence, and transgression. Based on the 2002 novel Fingersmith by British author Sarah Waters, The Handmaiden revolves around the love of two women and the greedy men around them. Park shifts the novel's plot from Victorian London to 1930s Korea, where an orphaned pickpocket is used by a con man to defraud an old Japanese woman. Routinely called a masterpiece with comparisons made to the likes of Alfred Hitchcock, this is a stylish and meticulous psychological thriller that packs enough erotic tension to put a crack in your screen. If you love cinema, you can't miss this movie. You might even have to watch it twice.

An interior designer comes back from Sweden to her birthplace in Thailand where she tries to declutter her family home to make it a minimalist, Marie Kondo-type house. “Minimalism is like a Buddhist philosophy. It’s about letting go,” she tells her mother as she tries to convince her. “Are you nuts?” The woman replies.

Jean insists and she embarks on a journey of touching what hasn’t been touched in decades: traces of an absent father and a past lover among the old Nokias and VHS tape recorders.

Happy Old Year is a contemporary exploration of the age-old resistance to throwing things away. Decluttering is a costly act, one of rejecting and discarding memories. The film was Thailand’s official submission to the Oscars.

One of the most notable avant-garde filmmakers, Su Friedrich is both a tour-de-force of documentary filmmaking and queer cinema. In Sink or Swim, Friedrich explores the complicated dynamic between a distant, work-oriented father and young daughter longing for his attention, approval, and love.

At just barely 45 minutes, Sink or Swim is cinematic poetry. The movie slowly unfolds across six vulnerable vignettes, through which Friedrich invites the viewer to meditate on the past alongside her. Through photographs, archival footage, and loose narrative storytelling, Freidrich shows that storytelling is a way of both healing the past and learning to live with its ghostly figures.

This startling debut from Chinese director Bi Gan is a mesmerizing synthesis of cinema and poetry. A man searching for his nephew goes on a journey that blurs the boundaries between time and space, and dreams and reality. All this is expressed through gorgeous and understated camerawork reminiscent of Apichatpong Weerasethakul’s languorous lens. However, Bi Gan’s style is all his own, including spectacular long takes whose sophistication and complexity only become apparent once they are done. 

Kaili Blues’ hypnotic aesthetics are like a mud bath for you to soak and luxuriate in. There are no easy answers for putting together its past/present/future puzzle-box, and it’s best to leave the deconstructions for later viewings as repeated trips to Bi Gan’s dreamy recreation of his hometown will reveal even more.

 

In Cameraperson, documentarian and cinematographer Kirsten Johnson creates an incredible patchwork of her life—and her life’s work. Johnson has been behind the camera of seminal documentaries like Citizenfour, The Invisible War, and The Edge of Joy. Here, Johnson stitches together fragments of footage, shot over 25 years, reframes them to reveal the silent but influential ways in which she has been an invisible participant in her work. 

In one segment, Johnson places the camera down in the grass. A hand reaches into the frame briefly, pulling up weeds that would otherwise obscure the shot. Cameraperson is a must-see documentary that challenges us to reconsider and reflect upon how we see ourselves and others through the camera lens, and beyond it.

Between 1967-1975, a group of Swedish filmmakers travelled to America to document the Black Power movement. The resulting archival footage of Black activists and intellectuals, including Bobby Seale, Huey P. Newton, Eldridge Cleaver, and the amazing Angela Davis, was hidden in an archive until it was unearthed and woven together by Göran Olsson, a Swedish director. Angela Davis also supplies some contemporary voice commentary alongside many others, such as Erykah Badu, Harry Belafonte, and The Roots drummer and rap culture's No. 1 record keeper Questlove, who also co-scored the film. This adds to the mixtape feel of the film as does the raw and unfiltered piecing together of the historic footage, giving the viewer an authentic impression of the movement and the struggles of the time. Being Swedish, the filmmakers dared to go where American mainstream TV might have never went.

This incredible documentary is about the elusive Iranian artist Bahman Mohassess, whose work has the uniqueness of a Picasso or a Salvador Dalí.

But unlike his European counterparts, most of Mohassess’ work has been destroyed. Some in the aftermath of the Islamic Revolution in Iran but most, interestingly, by the artist himself.

After the revolution, he went into exile. For 40 years his whereabouts remained unknown — until an Iranian filmmaker based in Paris tracked him in a hotel in Rome.

Very early in the film, director Mitra Farahani points out that Mohassess died half an hour after one of their filming sessions.

The urgency of their conversations, the genius of Mohassess and his relationship to his art, and the uniqueness of the untold story of his life, all make this more than just another documentary. It’s a work of immeasurable historic value.

Eve’s Bayou is a Southern Gothic tale of spirituality, family, secrets, and the ties that bind them together. The story follows the awakening, both spiritual and emotional, of young Eve Baptiste. The middle sibling of the Baptiste family, 10-year-old Eve, navigates childhood while enduring the tumultuous relationship between her mother and father. 

What lurks beneath a seemingly ordinary marital conflict is an insidious betrayal that could tear her entire family apart. Eve’s Bayou should be considered one of the greatest Black American epics of the past 25 years. I adore this film because it is unflinchingly real - and honest about the sometimes rocky reality of familial bonds. 

This small-scale but incredibly fun 88-minute drama from 2003 is about a group of Latino teenagers who grow up in New York’s Lower East Side.

Victor lives with his eccentric grandmother, which sometimes gets in the way of him pursuing Judy, his dream girl.

The actor who plays Victor is called Victor Rasuk, the one who plays Judy is called Judy Marte. This is a film so personal that both main characters needed to be named after the actors who play them.

This immersive documentary is about a beloved independent record store that opened in front of a major music chain in Manhattan in 1995. Its founders called it Other Music, a jab at the chain and a reference to the music it would carry.

Other Music would go on to become a mecca that welcomes music fanatics from around the world. Its clerks would become legendary for their shaman-like knowledge, many famous bands would have their start at shows in the store, and Other Music would even re-issue artists who were forgotten.

But in today’s hostile world towards independent cultural institutions, can anything, however influential or successful it may be, live?

Robert Ford is an aspiring gangster who idolizes Jesse James, leader of the notorious James gang. When that admiration reaches a level where it can transform to challenge and resentment, he starts considering the unthinkable. The cast is excellent- Brad Pitt, Casey Affleck, Sam Rockwell, Jeremy Renner, Sam Shepard, Paul Schneider, and Garret Dillahunt. Brad Pitt delivers an amazing performance which truly captures the presence that Jesse James brought to a room, one that seemed to overcome those around him. In addition the soundtrack is superb, one of the most memorable I have ever heard. This is a very unique, thrilling, and well-shot movie, it is easily one of the most underrated films of the past 10 years.

The Young Offenders is a comedy about two Irish teenagers who go on a 160km bicycle trip to salvage 7 million euros worth of lost cocaine. As they sit on a hill overlooking their city, they imagine what they would do with that money. The answer is building a house that has lava lamps, “big gold walls”, Spanish girls, and an English butler to wake them up every morning with the phrase “what’s happenin’?”. You get the vibe. It’s is a silly movie, although the premise is actually based on a real-life event where cocaine from a capsized smuggling boat washed up on the Irish coast. The Young Offenders wears its heart on its sleeve. It’s a sweet funny movie, half slapstick and half plot, which sports an infinity of highly quotable one-liners.

A hilarious and smart comedy that is almost impossible to hate. It doesn’t matter if you liked The Room or not; or if you’ve even heard of it, you will find The Disaster Artist extremely enjoyable. Same applies for James Franco, it’s irrelevant if you think he’s the hottest man walking or a complete waste of screen-time - this movie is better approached without any preconceived ideas. It follows the true events surrounding Tommy Wiseau’s making of The Room, a movie so bad it actually became a worldwide hit. Tommy’s character, played by Franco, is 100% mystery. He pops out of nowhere and does and says things that contain little to no logic. Capitalizing on this, the movie is both absolutely hilarious and intriguing from beginning to end.

Don’t worry.

Adam Sandler doesn’t suck here.

This is a beautiful family comedy directed by Noah Baumbach (Frances Ha, The Squid and the Whale). 

Sandler plays a recently divorced man (as he tends to do) called Danny (as he’s usually called). Danny moves in with his father, played by Dustin Hoffman, who himself is dealing with feelings of failure.

Both of them are joined by other members of the family, including Danny’s half-brother, played by Ben Stiller. Their family dynamics are portrayed in a beautiful and sometimes moving way. Director Baumbach proves he’s so good, he can make even Adam Sandler sound and look genuine.

Krzysztof Kieślowski’s trilogy reflects both the colors and the values of the French republic: liberté, égalité, fraternité. In Trois couleurs : Blanc (Three Colors: White), Kieślowski explores not only the theme of equality, but also the ramifications of defining and “achieving” equality as a European ideal.

After failing to consummate their marriage, Dominique (the ever-bewitching Julie Delpy) divorces Karol (Zbigniew Zamachowski), leaving him broke and humiliated. Karol plots to exact revenge on his ex-wife, becoming richer and cruller in the process. 

Although this is often regarded as the weakest of the trilogy, White is worth a watch not just for completionists. Kieślowski interrogates what it means to be equal in sex and socioeconomic class—and if when we strive to move upward in society, whether we are really debasing our basic humanity and humility.

Not one but two Oscars as well as a Golden Globe are among this movie’s never-ending list of accolades. It was the first Iranian film ever to get an Oscar and the first non-English film ever nominated for Best Screenplay. Originally titled The Separation of Nader from Simin in Persian, it homes in on the dissolving relationship of a middle-class couple from Teheran – and the unintended consequences of tragic events.

However, this film is so intense, well-acted, and well-written, it defies categorization. To be sure, the movie does offer a painful look at a deteriorating marriage. It’s also timely, dealing with the politics of theocracy, economic underdevelopment, and social alienation. It presents tense moral dilemmas without pointing a finger. If you’re curious to learn about the humans of Iran and, by cultural extension, the humans of the Middle East beyond the scope of global politics, A Separation is also for you.

But please don’t call it world cinema, because this is no Slumdog Millionaire. Above all, it is a searing portrayal of human conflict, relationships, and morals. It is an almost perfect depiction of how many bad people are simply good people running out of options.

A thoughtful drama about the financial crisis, Margin Call is gripping. Seriously, even something as convoluted as the 2008 global economic meltdown is not only accessible and understandable, but it's gripping. Margin Call transports you to the heart of Wall Street, both the financial institutions and the street, literally. It is exciting, well-acted and informative. Uh, also: Kevin Spacey.

You might have to wipe some sweat from your forehead once you've finished watching this blistering political thriller. It doesn't make any sense to us that this 2006 movie by documentary director Kevin Macdonald made less than 20 million in box office revenue when it came out, but that makes it even more A Good Movie to Watch material. In addition to being thrilling entertainment, it offers insight into an easily overlooked chapter of recent world history and taut moral dilemmas. The dramatization of Giles Foden's novel features two intense performances: James McAvoy plays the sometimes naive (and maybe a bit too enthralled by power) Scottish doctor Nicholas Garrigan, who becomes the personal physician of none other than Ugandan dictator Idi Amin. Nicknamed “The Butcher of Uganda”, Amin is played by Academy Award-winning character actor Forest Whitaker, who perfectly captures his mood-swinging, crazy brutality. He also completely nails his Ugandan-English accent. An amazing watch!

Will Ferrell plays a well organized IRS agent named Harold Crick who seems to have figured out everything in his life to the dot. Little does he know his life is being run by someone else, a nervous and morbid novelist, famous for ending her works with the death of the main character. As the nature of his life and eventual doom, he decides to lay back and enjoy the ride, breaking all his ingrained and boring habits. While this film is recommended for everyone, Will Ferrel fans, especially, need to watch this to see Will's acting variety.

Adam Sandler, though currently imminently marketable, incredibly played out and boring, used to be a real actor. This is the film by which his legacy will be judged, where we see the funnyman drop the mask and actually show real feelings besides bumbling rage. Sandler's hurt and confused performance is beautifully vulnerable and true and is complimented by P.T. Anderson's incomparable direction (the man behind Boogie Nights and There Will Be Blood), creating a true masterpiece of American cinema. This beauty also stars Philip Seymour Hoffman and Emily Watson.

Summer of Soul would already be remarkable if it was just a collection of some of the greatest live performances ever put to film. Boasting a roster that includes Stevie Wonder, Nina Simone, Gladys Knight, and Sly and the Family Stone, the nearly-forgotten 1969 Harlem Cultural Festival featured in the documentary was an all-star catalog of some of the biggest names in popular music, all at pivotal moments in their careers. Seeing them at the height of their powers, in front of a Black audience that meant so much to them, makes for an unexpectedly emotional experience.

But Summer of Soul also expands beyond the actual concert, using the Harlem Cultural Festival to represent a turning point in Black culture and history, especially after the death of Martin Luther King Jr. Through the film's pristine, electric editing and gorgeous archival restoration, music becomes a communal act of mourning, a rallying cry to face the uncertain future, and a celebration of a people and a heritage continuing to fight against erasure and persecution.

Many films have tried to decipher the indecipherable bond between mothers and daughters. Lady Bird, Everything Everywhere All at Once, and Turning Red, to name a few, center on this particular relationship, which to outsiders may seem strange at best and dysfunctional at worst. How can mothers yell at their daughters one second and coddle them the next? How can daughters treat mothers like their best friend and enemy all at once? 

One of the best films to explore this complexity is Petite Maman, a fantasy-like film that brings together mother and daughter in a unique situation, forcing them both to regard the other in otherwise impossible ways. It succeeds where others haven’t precisely because it accepts that this relationship is beyond dissecting, and the only way to honor it is in the poignant, poetic, and otherworldly way that it does. It’s a quiet film that manages to say a lot, not least of which is that it’s okay to feel and love and hurt as much as one does.

The film opens with Julie in her early twenties, longing to pursue a career in medical school. But after briefly testing the waters, she switches over to psychology, only to drop completely out of school and transform her hobby of photography into a professional career. This indecisiveness carries over in most aspects of her life, including and especially in romance, where impulse and desire drive her to run after what she believes to be love. The movie follows Julie as she navigates adulthood in modern Oslo—at once a specific yet universally relatable story about the growing pains of growing up.

With The Worst Person in the World, Joachim Trier scores again with another life-changing Norwegian drama about longing, love, grief, and finding your place in the world. His films can be quite sad but amidst all the drama, moments of happiness and hope are scattered throughout, as it is in real life.

Jessica Chastain and Oscar Isaac star in this slow-burning but impeccable crime thriller.

Abel Morales (Isaac) owns a fuel distribution company in 1980s New York. His competitors are violent and corrupt, and the feds are after him. The temptation to resort to unlawful methods is high, especially that his wife (Chastain) is the daughter of a mobster.

A Most Violent Year is about how this temptation of corruption unfolds and whether Abel will surrender to it or not.

In this comedy/drama, Bill Murray plays an aged, dispirited war veteran named Vincent who openly disdains most people and gives little attention to anything beyond alcohol and horse racing. Living a life of solitude in Brooklyn, everything takes a turn when a young single mother (Melissa McCarthy) and her son Oliver move in next door. Vincent eventually takes on the responsibility of watching over Oliver when Maggie is at work. Murray is perfectly unpleasant in his darkly comedic role, as his relationship with Oliver evolves despite his own misgivings, providing young Oliver (Jaeden Lieberher) with the fatherly/grandfatherly presence he desperately needs. Though somewhat formulaic, St. Vincent rises above expectations by way of great dialogue, favourable performances from all of the leads, and an unbelievably touching finale that will melt your heart. Much better than you probably expect—definitely check this one out.

The question mark in the title represents the central idea of this fascinating documentary: what if worshipping Satan is the only way of ensuring religious freedom for everyone?

That's what a group of young members known as The Satanic Temple believe, led by a determined and well-spoken Harvard graduate. They embark on a journey across the U.S. to challenge corrupt officials and the prevalence of religious biases in government agencies. They always request that their belief system (Satanism) is given the same favorable treatment as Christianity, effectively proving that authorities will really only accept a show of religion if it's one religion: Christianity.

But their intoxicating energy comes with costs: divisions within the organization and growing pains. This documentary perfectly illustrates not only a misunderstood religion (in the documentary it's referred to as "post-religion") but the difficulties of establishing grassroots movements in general.

This is the type of movie I completely fell in love with but cannot articulate exactly why. Maybe it's the mixture of beauty and pain portrayed, maybe it's the intricate sounds and beautiful imagery, maybe it's the story, maybe it's all of the above. A woman is hit with sudden disability after an accident and calls on an unlikely companion, a night club bouncer by the name of Ali. Together they explore her new predicament and its implications, while forming a special bond. This is a movie that will call upon your internal strength, while portraying how us humans can become strong together. Most of all it provides an immensely powerful, ultimately simple story that is both touching and will stay with you for a very long time. Directed by Jacques Audiard (A Prophet).

The original Swedish mystery thriller that was later remade by David Fincher. It's the same story of a wealthy man hiring a journalist and scrappy hacker to solver a murder, but told better. This version is slower, has more attention to detail and pace. In casting, authenticity triumphs over good looks. In staging, aesthetics are given as much importance as thrills. And in the story, intelligence wins over plot. This gives the main character of Lisbeth Salander (played by Noomi Rapace) better space to deploy her full mysticism and enigmatic nature. Danish director Niels Arden Oplev masterfully brings everything together to make for a movie that will forever be remembered.

Three half-Puerto-Rican, half-white boys grow up in suburban New York in this personal movie shot on stunning 16mm film.

This movie follows the boys, often literally with the camera behind their backs, as their parents’ relationship goes through turmoil. The kids are often left unattended and have to fend for themselves. The beauty of We the Animals is illustrating how they grow-up swinging between the angry character of their father and the protective nature of their mother.

This is one of the best movies I’ve seen in a long time, and I think I loved it so much because I was able to relate and feel for the main character (one of the boys). I really hope you will too.

A marvelous combination of perfect casting and a sizzling script. William Hurt, Albert Brooks, and Holly Hunter are such natural talents they could make reading a dictionary watchable, but seeing them weave through James L Brooks punchy dialogue is a delight to behold. The three form the foundation of this drama that is as much about journalistic ambition as it is about love.

Hunter and Brooks are principled workaholics at a news station juggling a platonic friendship that seems destined for more but lacks a driving spark. Enter Hurt, a charming though self-admittedly stupid news anchor, who Hunter at once resents and yet can’t help falling for. What seems like a ready-built rom-com plot, however, churns into something else entirely. It’s a delicious film crackling with wit and character and is as funny as it is astute. 

Wong Kar-wai’s dreamlike masterpiece is a perfect portrayal of the wilderness of a city at night. A hitman trying to get his job done, a woman hunting the prostitute who stole her boyfriend, and a mute who loves his father's cooking: each of the characters in Fallen Angels is eccentric and interesting in their own way. Along the watch, you may find yourself overwhelmed by all the events taking place as each character fights to stay alive and satisfy their desire, but this is exactly where the beauty lies. A hazy view of Hong Kong is the backdrop for the characters' riveting stories, blending loneliness, lust, as well as missed opportunities. Fallen Angels is a remarkably balanced film that not only exposes the coldness of people in the city, but also their warmth.

In a stunning and vivid (re-) introduction to the Black intellectual, author, and social critic, James Baldwin, this movie digs very deep into the American subconscious and racial history. It tells the story of America by telling the story of “the negro” in America, based on a book Baldwin started to write, which would have studied the famous assassinations of three of Baldwin's friends: Medgar Evers, Malcolm X, and Martin Luther King, Jr. He wrote about 30 pages before he passed away in 1987. Haitian director and activist Raoul Peck picked up the project and made it into a movie, earning him an Academy Award nomination. Narrated by none other than Samuel L. Jackson, I Am Not Your Negro highlights, at the same time, Baldwin's genius, his unique eloquence, and the beauty of his soul as a human being. It is a sad truth that Baldwin's denouncements feel as relevant today as they did 50 years ago. As such, this movie serves as a sobering reminder of how far America still has to go. A mesmerizing experience!

Every once in a while there are movies that expand the definition of quality film-making. This is one of those movies.

Here is an incredible, yet delicate film that follows three children from poor families who are stuck living in subpar motels. Their lives and friendships are portrayed with honesty and precise aesthetics. It’s a story that at first seems as plot-free as life itself.

It succeeds in capturing an innocence that is usually reserved to a child’s imagination: a precarious living condition full of adventures and fun. It’s hard to describe it beyond that; it’s the kind of film that must be seen to be fully understood.

And it ends on a very high note.

A revelation of a movie, both in filmmaking and commercial success. While little-known abroad, it has made more than $42 million in US Box Office revenue out of a tiny $5 million budget. Kumail Nanjiani, stand-up comedian and star of the show Silicon Valley, tells his own story of romance with his now-wife Emily V. Gordon (who co-wrote the movie). Because it is based on a true story, and because it is the product of the love of both its writers and stars, this movie is incredibly heartfelt. It is also timely, addressing heavy themes such as identity, immigration, and family relationships. Not to mention it is absolutely hilarious. And it's produced by Judd Apatow. Trust me and go watch it.

“It is better to live miserable than to die happy,” or so says one of the characters in Jia Zhangke’s anthology film A Touch of Sin. On its surface, the “sin” referenced in the title might pertain to the acts of murder that the four protagonists commit, but in the context of China’s rapidly changing capitalist landscape (a theme explored in the director’s other pictures), it reveals itself as a malady shared by Chinese laborers treated as dispensable resources by the powers-that-be. Murder, then, is explored as an extremity, the effectual breaking point of people no longer able to contain the injustice within themselves. Beneath the splatters of blood is a plea for empathy and understanding, at once remorseful and full of conviction.