This movie’s energy is completely intoxicating.

It’s the directorial debut of renown British/Nigerian actor Chiwetel Ejiofor, but it feels like the work of a veteran.

In a true story told in English and Chichewa (a language from Malawi), a young boy is expelled from school because his parents couldn’t afford tuition. At the same time, his village is struck by a variety of natural circumstances that bring them the threat of drought and famine.

The young boy sneaks into the library in the hopes of making a windmill and saving his village, and you can guess what follows from the title.

The triumph of engineering and a boy with a dream; mix in an incredibly interesting culture, full of unique family dynamics and a thought-provoking intersection between religion, tradition, and technology. The result is a delicate but uplifting movie, not to be missed.

Based on a true story, Darin J. Sallam’s controversial debut feature Farha is, at heart, a brutal coming-of-age film. Set in 1948, the film is about a girl who gets locked into her family’s storeroom at the start of the Nakba, the Palestinian Catastrophe. Sallam’s choice to limit most of the film’s perspective to that small storeroom is brilliant – in some ways, it echoes the surrounding discussion about the conflict. Most of what the world knows of Palestine is limited due to having to deal with censorship, lost records, and only hearing word-of-mouth stories from ancestors who just barely survived. But what we see is already too horrific to begin with. And what the film knows is the tragedy of losing your home – having to leave childhood, leave your dreams, and leave a vibrant and living culture in order to survive.

The Swimmers tells the true story of sisters Yusra and Sara Mardini (played by fellow sisters Nathalie and Manal Issa), Syrian swimmers trained to compete at the Olympics. When their athletic goals and overall safety are threatened by the increasing presence of war, the girls decide to take a chance and migrate to Europe, where they hope to live out their dreams and reunite with their family someday.

The Swimmers is a touching family drama that does right to center on the love and tension between the siblings. Yusra and Sara’s relationship perfectly encapsulates the envy and resentment but also the deep love and loyalty that are present in every sister bond. It’s tender in these moments, but it can also be equally searing—as a refugee drama, it chillingly tracks the complicated and inhumane processes of fleeing one’s country for a safer future.

Although Descendant is built around the finding of the Clotilda—the last ship to bring African slaves to the United States—this documentary knows that there’s so much more potent drama in the stories of the ordinary people of Africatown, Alabama. As this painful reminder of the roots of their community is salvaged from the water, their view of history itself begins to change. Now they face the responsibility of making sure that the Clotilda doesn’t just become a tourist attraction, and that their call for reparations unites the Mobile region of Alabama more than anything else. Its a gripping, complex documentary that feels like reading a great novel.

All the synopses going around the internet won’t fail to let you know that The Falls takes place at the height of the COVID-19 crisis. The film is certainly marketed that way, with commercial posters featuring the leads in ubiquitous face masks, socially distanced from the blurred crowd. 

But interestingly, The Falls is not just a situational, pandemic-era story. More than anything else, it tells the story of Pin-wen and Xiao Jing, mother and daughter who, despite previously living a life of comfort, are now dealt with unfavorable circumstances (exacerbated but not entirely caused by the pandemic). Now, they are forced to navigate life with only each other, and it’s in the isolation they instate from the rest of the world do they forge a genuine and heartwrenching bond any and all family members will immediately recognize and perhaps even sympathize with. 

The Hand of God is the autobiographical movie from Paolo Sarrantino, the director of the 2013 masterpiece The Great Beauty. He recently also directed The Young Pope with Jude Law and Youth Paul Dano, both in English. He is back to his home Italy with this one. 

More precisely, he’s in his hometown Naples, in the 1980s, where awkward teenager Fabietto Schisa’s life is about to change: his city’s soccer team Napoli is buying the biggest footballer at the time, Diego Maradona.

Sarrantino, who is also from Naples, made this movie that is half a tribute to the city and half to what it meant growing up around the legend of Maradona.

The Hand of God is to Sarrantino what Roma was to Alfonso Cuarón, except it’s more vulgar, fun, and excessive. It is equally as personal though, and it goes from comedy to tragedy and back with unmatched ease.

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 beautiful, realistic, and nostalgic anime movie about childhood is one that almost anyone can relate to. Set in the year of 1982, twenty-seven-year-old Taeko Okajima is traveling to the countryside by train. Along her journey, she gets flashbacks of her childhood: mostly in elementary school, stealing glances at a boy, and navigating puberty. The movie goes back and forth between past and present, easily making one long for sun-filled summers of yesteryear and silly jokes between playfriends. As well as telling a story about Taeko’s past, Only Yesterday also tells a story about her present, and the combined realism of the plotline with the beautiful animation grips you and doesn’t let go. Only Yesterday truly feels like home.

This new documentary is about the exact scale to which social media is harming us, as testified to by people from the industry: ex-executives at Google, Instagram, Facebook, and even the ex-President of Pinterest. All have left their companies for (incredibly valid) ethical concerns that they share here.

It’s a blend of interview footage and a fiction film that follows a family who feels more distant because of social media. This allows to see the implications of what the interviewees are saying in real life but quite frankly it also serves as a welcome break from the intensity of their words. How intense? One of them predicts civil war within 20 years.

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).