N/A Movies to Watch

This sensitive and elegantly crafted melodrama recognizes that a death in the family doesn’t have to lead to the same expressions of mourning we expect from movies; there might not be any real sadness at all. But when different family members come together again and bring their own personal conflicts with them, suddenly everyone else’s little griefs fill the space, and the road to recovery becomes even messier. Little Big Women understands all this with an understated touch and brilliant, naturalistic performances from its cast. It makes for a loving tribute to the generations of tough and complicated women who often hold a family together.

Your Name Engraved Herein is a melancholy and emotional film set in 1987 just as martial law ends in Taiwan. The film explores the relationship between Jia-han and Birdy, two boys in a Catholic school who are in a romantic relationship. The movie tackles homophobia and social stigma in society which evokes a bleak and rather depressing atmosphere, emphasised by the movie’s earthy aesthetic. There is a rawness in the film’s narrative and dialogue, topped off by the lead actors’ successfully raw performances. Your Name Engraved Herein is tender as well as heartbreaking, occasionally depicting the joy of youth.

Named after the Celtic concept of heaven, Summerland is a rare queer period drama that feels hopeful rather than despairing. The film takes us to the countryside in World War II, where our protagonist, the reclusive writer Alice Lamb (Gemma Arterton), studies the folklore about Summerland. We know that her isolation wasn’t fully chosen; her refusal to marry causes adults to gossip and causes children to speculate that she’s a witch. But this all changes when a young evacuee is entrusted to Alice’s care.

Gemma Arterton shines as a reluctant guardian stifled by repressed grief, and she makes Alice’s dynamic with Frank (Lucas Bond) and her former lover Vera (Gugu Mbatha-Raw) incredibly believable. And while it would have been lovely to see more of Vera, even just their first meeting easily captures that heady sense of pure enchantment with another person. It’s no wonder that Alice has to cling to folklore the same way we do. For many of us, it’s the only way we can express our hopes, fears, and dreams.

This fun comedy-drama is about Bridget, a 34-year-old who hasn’t quite got it all figured out, but at least she’s trying: after terminating an accidental pregnancy, she gets herself a summer gig as a nanny for a fearless six-year-old by the name of Frances. 

Tackling a myriad of “taboo” topics including abortion, menstruation, and depression, the movie visually normalizes human experiences that remain underrepresented in mainstream cinema. And writer Kelly O’Sullivan, who also plays Bridget, has a screenplay that manages to do it all without feeling didactic.

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.

This drama is about two friends attempting to rave in 1994 Scotland, after a recent Thatcher-era law banned the act and all music “characterized by the emission of a succession of repetitive beats”.

Johnno and Spanner, one living in fear of his older brother and the other of his stepfather, want to turn things around by joining their first and probably last rave. They’re introduced to the world of illegal parties, a movement as influential as punk, that in the 1990s was born in reaction to the U.K.’s oppressive policies.

An 80-minute documentary about a diver who gets stranded in the deep sea with 5 minutes of oxygen left, while the nearest rescue team was 30 minutes away. This type of diving in the depths of the sea, as someone explains, is like “going into space but underwater”.

The documentary uses genuine footage from the dive as well as interviews of people who were present. Still, some parts of this incredible story can’t be explained. And if like me you’re not familiar with diving, everything will have more appeal. The vessel they use is quite impressive, the duration of its dive is obscene (28 days!), and lastly: the divers inhale helium (and speak with a funny voice) the whole time they are down there.

This movie is a dramatic masterpiece and a tribute to loving middle-aged women everywhere. It is unparalleled in the way it portrays its characters and the subtlety with which it tells their stories. The events are centered around a 52-year-old Georgian woman who decides to leave her family home and live alone without much of a notice. She trades chaos and domestic disputes for solitude, and the prospect of sad old age for an opportunity to build a new life for herself. In other words, she trades being the secondary character to her mother, husband, and children, to being the hero of her own story. A genuine and beautiful film. If like me you grew up with a mother who sacrificed everything for you, this will hit very close to home.

While more people are familiar with its US adaptation, Il Mare is far more striking and emotionally resonant. The Korean romance, separated by timelines, depicts two lonely people who lived in the same seaside residence. They form a bond through the titular house’s mailbox, by sharing letters, voice recorders, and suggestions to deal with loneliness. As they receive each other’s messages, the film slowly reveals the reason for their loneliness– that they’ve been left behind. Matched with shots of creeping urbanization, migration, and the Y2K scare, Il Mare understands modern isolation, but it also underscores how solitude helps us connect with other people.

Thunder Road is both a single-shot 13 minute short and a 91-minute feature-film expanding the story. Both are excellent and award-winning, but I really recommend the full experience!

Jim Cummings (above) is the director, writer, and main actor of this dark comedy. He plays a police officer having the worst day of his life as he tries to sing Bruce Springsteen’s Thunder Road at his mother’s funeral.

This sight is funny, and so is most of the story. But it’s also cringe-inducing, and because the main character is so sincere in his decline, will make you feel guilty about laughing so much. 

Heart Attack is a romantic comedy, but instead of the hijinks being caused by the usual dating, miscommunication, and wooing, Yoon’s struggle here is to finally get a hold of his overbearing schedule and figure out how to relax and recover from burnout, and it’s all inspired by wanting to impress his doctor Imm. It’s funny, but it’s also all too real. Writer-director Nawapol Thamrongrattanarit recreates the overwhelming frenzy to complete a job through a magnificent jazz soundscape and Sunny Suwanmethanon’s internalized monologue, and it’s such an effective cinematic translation that the moments of rest, the moments where Yoon and Imm finally take a break feels like a relief. Heart Attack works precisely because it empathizes and understands the experience of workers in today’s gig economy.

New York, especially in older movies, seems to be an enchanting place with endless possibilities, as long as you’re willing to put in the work. With Hong Kong’s handover to China, it’s no wonder plenty of Hong Kong natives decided to emigrate to the Big Apple. That being said, this experience isn’t always smooth. Mabel Cheung’s An Autumn’s Tale is a fairly simple romance, but it also captures the rough times of the assimilation process of Hong Kongers, the way they have to toughen up to eke out a living, and the joy they manage to hold, even just for a while. And as the young Chow Yun-fat softens his edge to guide the blindsided, sweet Cherie Chung, we can’t help but root for them.

The Centre Will Not Hold explores the life of the famous Joan Didion – professional observer and cultural spectator. The film gives only a small window into the complexity of her mind and the space in which she processes and understands the world, which stems from her capacity to sit above everything that is happening around her and just observe. From writing for Vogue, to war journalism, to her famous novels – from watching a child do acid, to reporting on the first gulf war – Didion is as prolific as she is insightful and majestic in her writing. Throughout the documentary she gives her first hand perspectives on love, relationships, motherhood, and grief – beautifully articulating it as “a place we do not know unless we’ve been there.” A beautiful woman, and an incredible film.

From countries like Finland to North Korea, this amazing documentary explores the most fascinating active volcanoes on our planet. But as it unfolds you realize that Into the Inferno is a movie as much about volcanoes as it is about the people obsessed with them. And who can be called obsessive more than the film’s own director, Werner Herzog, who, with such an explosive career had to eventually make a film about volcanos (bad pun intended). Beautiful scenery, interesting interviews, and Werner’s majestic delivery all make Into the Inferno both an interesting and satisfying documentary.

A funny, feel-good French movie about a man who joins a synchronized swim team to get over his depression. Comprised only of other middle-aged men, they decide they want to compete for the world championship. Sounds like an unlikely story? It’s actually based on a real-life documentary from Sweden called Men Who Swim. If you get French humor, this will make you laugh (a lot), and if not, you’ll surely enjoy the easygoing tone of Sink or Swim.

There are two ways to sum up this documentary. One will make you decide against watching it. Here’s that pitch: This is the story of a homeless woman who was found dead.

Here’s the better pitch: That woman was highly educated and generally lived a happy life. But she also left behind a detailed journal that recounts her final days in one of the coldest winters on record. She lived on apples and rainwater and fought off insanity.

Her heartbreaking story is one of disappointment and betrayal by society at a time when she was most vulnerable. A haunting and compelling documentary that is sure to stay with you for a long time and, in a way, might help you take on adversity.

Even when it necessarily tackles the difficulties that are part and parcel of same-sex love in the 20th century, there’s something pleasant about the way A Secret Love is told. The documentary puts Terry and Pat’s love above all else, so even though we hear about how they had to tear the bottom pages of their letters to avoid getting caught, or how they had to split from close family members after coming out, things never feel too heavy or dire because at the end of the day, they’re still together, their decades-old companionship a beautiful example of how love wins. And aside from giving us an intimate look at this rare win for elderly closeted couples, A Secret Love serves as an insightful portrait of elderly life. Terry and Pat, with their perseverance and unyielding support, make aging look beautiful rather than scary. 

Where The Secret Garden championed the restorative powers of tending to a garden as well as one’s thoughts, Swiss novel Heidi touched on similar themes a few decades before, celebrating instead the natural beauty of the Alps mountainside, and the titular character bringing back joy and hope to her family. The film remains faithful to the novel, playing out the book’s events with a more sleek look and even more stunning landscapes of the Swiss Alps. While previous generations would inevitably compare the version of their time to this latest version, 2015’s Heidi is a decent adaptation, recreating the classic tale for today’s kids.

Going by the Book is quite absurd. Of course, most people would understand not to take an assignment like this too literally, so when this deadpan, fastidious cop does so, it brings this mere simulation into an unpredictable, fascinating situation. It’s so funny. The film leans into the humor by depicting the horrifying possibility before pulling the curtain to the silly actions he actually does. It’s a clever concept that pokes fun at his colleagues’ complacency, as it highlights the gap between the needs of a situation and how unprepared institutions are to meet it, as well as how rules are made and practiced. While not as fast-paced as the original, Going by the Book is a hilarious thriller comedy that’s so fun to watch.

Happy Together is a beautifully devastating tale about a gay couple, portrayed by Tony Leung Chiu-Wai and Leslie Cheun, who struggle with maintaining romance and fidelity in their relationship. Despite their efforts, they find the emotional distance growing between them, especially as they leave their home of Hong Kong for Buenos Aires.

Filmed and set in the late 1990s, Happy Together explored the depths of queer love in a way most films hadn’t. 

Since its release, it has touched the souls of many and caused tears to be shed. It serves as a reminder that love isn’t perfect, but it’s always worth the effort.

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.

When a man languishes in a prison of an enemy country for more than two decades, anyone would wonder what happened. The worst easily comes to mind. Despite Indian-Pakistan relations then, Veer-Zaara surprises us instead with a love story. It’s a rousing romance up to the standard filmmaker Yash Chopra has set, with the soaring melodies, the colorful shots, and the emotional performances from Shah Rukh Khan and Preity Zinta. However, it stands out from Chopra’s oeuvre because of the way it celebrates his birthplace of Punjab, the province that was split between India and Pakistan in his teenage years. Rather than pitting both nations against each other, Veer-Zaara instead celebrates the culture shared on both sides of the border.

Though it doesn’t delve too deeply into any pressing issues in baseball or into its protagonist’s Taiwanese roots, Late Life: The Chien-Ming Wang Story still makes for interesting viewing, mostly for its extremely specific discussions on baseball. Part sports documentary and part study on physical therapy, the film rejects any narratives about innate talent and greatness and aims to depict most great players as they really are: athletes who have had to train hard and maintain their progress through sheer force of will. And at the center is Chien-Ming Wang himself, a gentle and humble giant who makes for an unlikely but refreshing sports celebrity.

Girl won four awards at the Cannes Film Festival last year and was nominated to 9 Magritte Awards. It was also Belgium’s entry to the Oscar for best foreign-language film. When a dance school accepts her, Lara has the opportunity to realize her dream and become a professional ballerina. The dancing takes a toll on her body, but her biggest obstacle is that she was born into the body of a boy. Girl illustrates the trans teenage experience with sensitivity, slowly and humanly making Lara’s anguish become the viewer’s. Based on a true story.

If you like movies without plot, you’ll love Korean master Hong Sang-soo’s work in Grass. Sang-soo likes to write the script for his characters and not the other way around: he hires actors, then writes a script that would fit them every morning of the shoot.

The result is a personal movie that feels improvised and experimental, despite being quite simple: it’s about a small café and a woman who observes the interactions of the guests.

When Sr. Lino started his warehouse job, he had to work for 11 years before being able to sit down during work hours. This is because there was one chair, and he had to wait for his more senior colleague to retire before he could have his turn.

Now, many years later, he’s about to retire. A new recruit is sent to replace him just five days before he leaves. Sr. Lino is disgruntled that the new kid will only have to stand for five days, but on the second day, the kid brings a chair from home and sits.

Warehoused is a comedy about these two characters with completely different personalities as they interact during the few days left in Sr. Lino’s career. The most interesting thing is perhaps how little seems to happen: the warehouse is empty, unvisited, and yet religiously maintained by Sr. Lino.

It’s such a joy to watch the two actors carry this movie. And behind the funny and simple premise, there is a lot that this movie tries to deal with: deceit and lies, the weight of modern working life, and more.

A razor-sharp script and beautiful scenery make this one of the best road movies in recent memory.

When their cynical best friend dies, Seph and Alex embark on a journey to scatter his ashes over four spots he wants to go back to. Tupperware of ashes in the glove-box, they start their big adventure.

Burn Burn Burn, an expression their friend quotes from Kerouac, is a chance for the two friends to escape their hectic city life and to discover themselves. It’s a beautiful movie.

What does it mean to be the most talented? Malay drama Talentime starts out with the usual answers– the most talented would be the people who have the most skill, whether that be in singing, dancing, or performing a new and novel act. But, as writer-director Yasmin Ahmad simply depicts this fairly mundane school competition through casual observations of the contestants’ day-to-day lives, deciding who should win proves to have certain difficulties. The most obvious factor is the competition itself, or who they would have to compete against, but in comparing between scenes, Ahmad reveals life circumstances and audience bias that can get in the way, as a protagonist with different demographics is given feedback to adapt and to meet higher expectations. It seemed like a simple talent show, but Talentime paints a broad picture of Malaysia’s multicultural society, all through a seemingly simple slice-of-life romance that sweetens the message it makes.

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.

Before her triumphant Oscar win for her role in Minari, Youn Yuh-jung starred in The Bacchus Lady as So-young, an aging sex worker strugglin to make ends meet. Youn brings a certain dignity to the role that’s rarely seen in typical depictions of sex work around the world. Her work isn’t framed as something disgusting or immoral, but as something that’s natural and normal. Writer-director E J-yong clearly sides with and respects the people that you don’t normally see in K-dramas—characters that have been pushed aside in favor of the stereotypical “ideal” Korean. While meandering at times, the film’s warm and bittersweet approach to these characters acts as a reprimand to Korean society on how they fail those at the margins.

I can’t get a song out of my head from this movie: the 1985 UK hit Desire As from Prefab Sprout.

It plays when the two main characters, a sensitive kid who’s bullied by his school for not liking rugby, and the school’s rugby star; talk over the “Berlin Wall” that separates their dorm room.

The song echoes “It’s perfect as it stands, so why then crush it in your perfect hands?”. These two seemingly incompatible personalities form a friendship that comes under threat from their school’s traditional authority, especially as one of them is revealed to be gay. 

It might seem like a tough premise, but Handsome Devil is actually a comedy. It’s a sweet and easy coming-of-age comedy.

This is a half-hour documentary about Cuban-American artist Carmen Herrera. She is one of the oldest artists working today, close to being 100 years old.

Her story is fascinating because she only became successful in her 80s, although she never stopped working her whole life. There are many reasons as to why her work went unnoticed for so long and they’re all examined here. But the best thing about this movie is Herrera’s outlook on life and what drives her every day.

With his dad in jail and mom lost to a drug overdose, Michael lives a lonely life with his grandpa in Dublin.

A minor drug bust sends him to jail for three months and implicates his grand-father with a gang.

Michael Inside uses this brief period of incarceration to offer commentary on the Irish underclass, both inside prisons and out. It’s a tough watch that aims for realism and doesn’t miss.

Filmmaker Petra Costa tells the story of moving to New York from Brazil to follow her dream, the same one her mother once followed, of becoming an actress.

She carries memories of a third person who made the same move, a sister called Elena. Elena left her when she was seven-years-old, and after intermittent calls and messages, disappeared.

This documentary is a tale of three women: of their feelings separation, longing, and ambition. It’s made to be a visual poem of their story.