22 Movies Like Elle (2016)

Staff & contributors

Chasing the feel of watching Elle ? Here are the movies we recommend you watch after Elle (2016).

Arch-provocateur Paul Verhoeven received widespread acclaim for his assured and darkly funny adaptation of Philippe Dijan’s award-winning novel, his first film in the French language. It’s a controversial revenge thriller about a domineering businesswoman who is raped in her home by a masked man. Refusing to let the attack affect her life, she refuses to report the incident and tracks down the assailant herself.Verhoeven directs the material with confidence and a troubling lightness of touch, while fearless Isabelle Huppert gives one of the best performances of her long and illustrious career. Some people found Elle empowering while others felt it perpetuated misogynistic attitudes. Either way, it makes for a passionate post-viewing discussion.

Aptly named ‘Rupert Grint on speed’ by one critic, Antoine-Olivier Pilon plays Steve, an abusive ADHD adolescent who just got out of a juvenile care facility for setting fire to the school cafeteria and injuring a fellow student. Similarly, his mother Diane, played by Anne Dorval, is a type of Lorelai Gilmore on speed – and to say that sparks fly when they clash is an understatement. But help comes from unexpected places: ‘Die’ makes friends with Kyla, an anxious teacher living across the street, who then gets sucked into this crazy, volcanic mess.

Mommy is the fifth feature film by French-Canadian don’t-call-him-a-hipster director Xavier Dolan and won the Cannes Jury Prize for its originality. It is shot in the 1:1 ‘portrait’ format, but every now and then a moment of exhilaration will crack open the frame. The brutality on screen is sugar-coated by an all-over-the-place soundtrack that includes the Counting Crows, Celine Dion, and Blue (Da Ba Dee) by Eiffel 65.

Shrill, violent, and demented, this out-of-control dark comedy will punch you in the guts. But it also aims straight for the heart and doesn't miss. Prepare to be continually torn between laughing out loud, clawing your seat, and covering your mouth in shock.

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.

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.

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.
Written by actor-turned-screenwriter Taylor Sheridan (Sicario) and directed by David Mackenzie (who is responsible for the prison drama Starred up), this well-acted Western is one of the most captivating movies of 2016. Chris Pine and Ben Foster play two brothers, one cautious and out to better himself, the other, an ex-convict with an itchy trigger finger, whose family ranch is threatened by the local bank. Both set out to make a high-risk living of travelling and robbing that bank's local branches. On the other side of town, grizzled Texas ranger Marcus, played by none other than Academy Award-winner Jeff Bridges, has one foot in retirement but is bent on solving their case. The film's spectacular cinematography is reinforced by the brooding original music, composed by none other than Nick Cave and long-time collaborator Warren Ellis. It takes you on a journey that is as much about the two brothers' violent upbringing as it is about the decaying towns they visit, making this modern-day crime western not only a great thriller but a tribute to the Texan way of life.
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.
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.

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.

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.

Good movies usually aren't lengthy movies, unless we're talking about cases like Toni Erdmann. It's a supremely smart German-Austrian comedy that depicts the story of a Father-Daughter tandem in light of life’s weirdest, most inconvenient moments. Deciding to visit his daughter on a whim after his dog dies, Winfried (Peter Simonischek)—a man known for his outrageous pranks and many a disguise—flies to Bucharest. Ines (Sandra Huller), the daughter, buzzing with work to the brim in a very challenging job, to say the least, isn’t impressed. This leads to even more uncomfortable encounters as the estranged father poses as the title character, life coach to the disapproving daughter’s boss. On top of being a shrewdly observed and relevant movie, the brilliant writing by Maren Ade crafts something thoroughly enjoyable and heartfelt here, highlighting the importance of family bond in an oddly sweet way, and criticizing modern-day work ethic and the toll its taking on us. The beginning is a bit slow, but if you're a bit patient you will be surprised how much this movie will reward you.

The Square is a peculiar movie about a respected contemporary art museum curator as he goes through a few very specific events. He looses his wallet, his children fight, the art he oversees is does not make sense to an interviewer... Each one of these events would usually require a precise response but all they do is bring out his insecurities and his illusions about life. These reactions lead him to very unusual situations. A thought-provoking and incredibly intelligent film that's just a treat to watch. If you liked Force Majeure by the same director, The Square is even better!

An instant essential film in the Jim Jarmusch catalog. In his traditional directing fashion, Paterson disregards plot and instead finds inspiration in deconstructing the seemingly mundane aspects of life. Adam Driver stars as a bus driver and amateur poet who leads a content life staying away from change as much as possible. His girlfriend, Laura (played by Iranian actress Golshifteh Farahani), is the complete opposite: eager to be creative, to explore new paths, and to decorate and design every object in her life. Jarmusch takes these two characters, adds only a few others, and makes a movie that celebrates similar so-called simple lives, reaching surprising levels of beauty. Again, not much happens in terms of plot, and the pace is slow. But if you are interested in the kind of movie that will let you into people's lives, you will love Paterson.

There is a chance we will be known as the generation that perfected mixing the two mediums of movie and theater. Think Hateful 8, Horace & Pete, Wild Tales, and Fences! A movie not only packed with Broadway talent, it's also based on a Pulitzer-winning play by August Wilson. The play element is both strong and visible, the movie is dialogue packed, and takes place almost exclusively in the characters' house, not to mention most of the events happen within the span of a few days. The movie element comes through beautiful aesthetics and rich scenery, as well as some of Hollywood's best talent: Denzel Washington (who is also the director) and Viola Davis. They had both actually won Tony Awards for their performances reviving the play back in 2010. Denzel is a black garbage collector who was once a promising baseball player and a victim of racial discrimination. His psyche is as rich as it is determined and he is used to taking out his deep-rooted feelings of anger on his loved ones. His wife (Davis), his son, and his friends are the targets of this hurt and anger, but they also have a lot to deal with on their own. A beautiful if maybe slow play-movie. Do not watch it expecting "things to happen", but watch it to be mesmerized by the acting, the writing, and the underlying tensions it addresses. 

Spike Lee’s semi-autobiographical film is a loving and nostalgic ode to the Brooklyn of his childhood. It also happens to be his sweetest work and while overshadowed by the explosive Do The Right Thing, remains an easy contender for one of his very best. The world of Crooklyn is told through the eyes of Troy, a young girl growing up with her four brothers, and her mother and father in a cramped brownstone. 

Lee’s Brooklyn is a colorful delight set aloft by a swooning soul soundtrack. His ability to capture the vibrant magical tones and textures of the city feels as complete as ever, and marvelous performances from Alfre Woodard and Delroy Lindo as Troy’s parents help create a touching and all-encompassing experience.