22 Movies Like The Favourite (2018) On Netflix Canada

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The title of this 2018 Palme D'or winner is not to be taken metaphorically: Shoplifters is about a marginalized family of day workers, crooks, and small-time outlaws, who live on the fringes of Japanese society. Osamu (Lily Franky) and Nobuyo (Sakura Andô) both have jobs but spruce up their low-wage income by committing petty crimes. One day in winter, Osamu takes in a bruised girl he finds outside in the cold and introduces her to the family in his ramshackle house. But when the second-youngest member of the family, Shota (Kairi Jyo), finds himself teaching her how to shoplift, he faces a moral dilemma that threatens to unravel the family's fabric. If you were hitherto unfamiliar with the unique storytelling and social realism of Hirokazu Koreeda, we really recommend checking it out—as well as his other movies, namely, Still Walking, Like Father, Like Son, I Wish, and After the Storm. His 2018 outing features the last ever performance of Kirin Kiki, who plays the elderly matriarch and passed away that same year. Like many of Koreeda's works, Shoplifters is an understated, beautiful, and mysterious study of the effects of poverty and trauma and a delicate portrait of a family in Japan's urban underbelly.

Before you press play on this movie, we highly recommend you take a few very deep breaths. This 2018 thriller is wound so tight, you will need the extra oxygen to get through it without fainting. In his directorial debut, Swedish-danish filmmaker Gustav Möller uses very little in terms of resources to create this breath-taking atmosphere. While The Guilty feels like it was made on a $100 million budget, all it physically brings to the table is one man in a dark room. It plays with our imagination instead of blinding it with special effects. Similarly, the plot is also short and sweet: a police officer is temporarily sent to do emergency dispatch, when he receives a call that turns an ordinary shift into a hell ride. This is all we are going to give away before you've completed your breathing exercises. The movie's minimalist approach is held together by great acting from Jakob Cedergre, a screenplay to match, and incredible sound design. A real white-knuckle ride.
If you don't know much about him or high fashion, don't fret because this intelligent and informative film by Ian Bonhôte and Peter Ettedgui will chaperone you into this world with ease. Simply titled McQueen, this documentary is a poignant portrait of the British fashion icon that goes to great lengths to do him justice. With a reputation for shock tactics and controversy, McQueen grew from humble beginnings in a British council flat with three sisters into a world-famous enfant terrible of the 1990s for his quote unquote unwearable fashion and extravagant shows. Music fans might recognise his designs from Bjork's album Homogenic or the music video to her song Alarm Call. Despite the documentary's scope and depth, this is the type of film that leaves you wanting more and you might find yourself browsing through Wikipedia and YouTube for another hour to stay in the vibe. Alexander McQueen died of suicide in 2010.
Russel Crowe, Nicole Kidman, and the immensely talented young actor Lucas Hedges (Manchester By the Sea) form an amazing pack of talent in this excellent drama. The story is based on the memoir by Garrard Conley, a true story. Set among deeply pious Christians in Arkansas, Hedges plays 18-year-old Jared Eamons, who discovers that he is gay. Crowe plays the father, a car dealer and a preacher, and Kidman the mom, who is a sweet-natured hairdresser with traditional values. When their son comes out to them after concealing his sexuality for some time, they pressure Jared into going to a Christian conversion camp, where his “lifestyle choice” is to be “prayed away”. The unspeakable camp is led by the Victor Sykes, who is as sinister as he is stupid, played with aplomb by Joel Edgerton, the writer and director. It's a funny sidenote to a serious movie that many actors in this Southern drama are from Australia, including Edgerton, Crowe, and Kidman as well as Red Hot Chili Peppers bass player extraordinaire, Flea, who plays a drill-instructor-type PE teacher at the camp. The powerful performances are indeed what drive this drama and they contribute significantly to telling a story that needed to be told.

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.

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.

In the year of the Netflix TV Show Maniac, another absurdist title stole critics’ hearts. Sorry to Bother You is a movie set in an alternate reality, where capitalism and greed are accentuated. Lakeith Stanfield (Atlanta) is a guy called Cassius who struggles to pay his bills. However, when at a tele-marketing job an old-timer tells him to use a “white voice”, he starts moving up the ranks of his bizarre society. A really smart movie that will be mostly enjoyed by those who watch it for its entertaining value, and not so much for its commentary. It is like a Black Mirror episode stretched into a movie.

A powerful but quiet movie directed by Paul Dano and based on a novel of the same name by Richard Ford. It stars Carey Mulligan and Jake Gyllenhaal as a couple who move to a new town with their only child during the 1960s. Their relationship transforms after Gyllenhaal's character loses his job as a butler and chooses to leave for a more dangerous profession, firefighting. This movie is about his wife's response to this event and the implications of both parents' behavior on their kid. There are no twists or turns, exciting action or plot; but Wildlife doesn't need any of that. This moving story about a decaying family unit is portrayed in the sadness that comes with such events. The only joy comes from watching the outstanding (but expected) performances of the cast.

Paul Giamatti, man. Ever watched Win/Win? What a performance. I didn’t think he could do any better than that. But here he did. This movie is now on Netflix. It’s about a couple that is trying to have a kid but can’t. Their frustration grows, but so does their willingness to do whatever it takes to become parents. They try to adopt, go to fertility clinics and ultimately ask their niece to donate her eggs. To really work, such a plot requires well-written, multifaceted characters one can relate to. I did, and it really worked.
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.

It wouldn't be too far of a reach to evoke Kids (1995) while diving into Mid90s. But instead of taking on the HIV crisis, Mid90s is a much more tender, poignant reflection on coming of age in 90's skate culture. Jonah Hill, writer and director, examines the complexities of trying to fit in and the difficult choices one has to embrace individualism. From an opening of physical abuse to scenes of drug usage and traumatic experiences, Mid90s is a meditation not only on culture, but also a subtle examination of what it means to be human, to reach emotional and physical limitations, and to seek acceptance. Filmed in a 4:3 aspect ratio, Mid90s doesn't concern itself with grandiose filmography, but instead the aspect ratio almost reflects the tonal and metaphorical aspects played out on screen. With a smaller dynamic range of color and the familiar dust/scratches, the 16mm film compliments gritty and emotional moments of Mid90s. The emotional range of the film will take the audience from the depths of empathy to laughing out loud, but there is no compromise to the weight of each moment. Jonah Hill's directorial debut is beautiful in every sense of the word.

This is a star-packed movie about two brother assassins played by John C. Reilly and Joaquin Phoenix, and starring Jake Gyllenhaal. You might have read the book of the same name, and it is always hard to make a great film out of a great book but the brilliant director of A Prophet Jacques Audiard has done it (again). He is aided by a superb darkly comic script and fantastic acting from the entire cast. Audiard is French, but his take on the American Western is filled with epic violence but also witty dialogue, brotherly love, and male camaraderie.

You live in a strange world. Or at least, that's what the generation before you thinks. Eight Grade is a movie that follows a girl going through her generation's strange world. Social media, selfies, Youtube; you name it. But also, the weight of her expectations (as shaped by the internet) versus her reality. Written and directed by famous comedian Bo Burnham, it's a gentle and often funny look at our anxieties and how they shape our growth. Prepare for a lot of cringes.

In the early 1990s, Singaporean teens Sandi, Jasmine, and Sophie set out to make the country’s first indie movie. Incredibly, in between college, day jobs, and very limited funding, they manage to do just that with the help of their wise but mysterious mentor, Georges. Shirkers, as the project came to be called, seemed primed to revolutionize the burgeoning Singaporean film industry. It was ambitious and bonkers, unlike anything the country has seen before, and it lovingly contained tributes to the makers' cinematic heroes (among them Wim Wenders and David Lynch). But before it could see the light of the day, before it could even be viewed and edited by the girls who conceptualized it, Shirkers’ raw footage was whisked away by Georges, who fled the country without a trace. 

The potentially pioneering film was never to be seen again—that is, until 20 years later when it resurfaces in near-mint condition (sadly, the audio could not be recovered). Fascinated by the journey of the lost film and mystified by Georges’ motives, Sandi decides to remake Shirkers as a documentary. The result is an artistic and personal interrogation into what made their small beloved film possible, how its loss affected the people behind it, and how this all led to Shirkers, the documentary, which is a testament to how art always prevails in the end. 

Vague statement alert: Burning is not a movie that you “get”; it’s a movie you experience. Based on a short story by Murakami, it’s dark and bleak in a way that comes out more in the atmosphere of the movie rather than what happens in the story. Working in the capital Seoul, a young guy from a poor town near the North Korean border runs into a girl from his village. As he starts falling for her, she makes an unlikely acquaintance with one of Seoul’s wealthy youth (played by Korean-American actor Steven Yeun, pictured above.) This new character is mysterious in a way that’s all-too-common in South Korea: young people who have access to money no one knows where it came from, and who are difficult to predict or go against. Two worlds clash, poor and rich, in a movie that’s really three movies combined into one - a character-study, a romance, and a revenge thriller.