100 Best Foreign Shows on Netflix Right Now

Do we need to convince you about the spectacle of half naked, handsome, buff men wrestling? Like Flowers in Sand has plenty of that, with Jang Dong-yoon at the helm, but it’s more than just eye candy. It’s a warm, down-to-earth sports drama celebrating Korea’s traditional wrestling, set in the county that is known for ssireum. It has an intricate web of relationships that realistically depict the small town friend groups of childhood. And the cast is excellent, making each ordinary slice-of-life moment still feel compelling. Like Flowers in Sand may not have the crazy fantastical premises other K-dramas are known for, but it still feels unique with its straightforward passion of ssireum.

A Round of Applause is just so darn weird. We’ve seen stories about people remembering their past lives, but we’ve never seen them able to recall and yearn for their life as pulp in an orange, of all things. We’ve seen fetuses as characters, but we’ve never seen them as a neurotic chainsmoker, tugging at the umbilical cord in complaint. These strange, existential ideas get to amusingly absurd paths, leading to punchlines that aren’t expected but pulls out unexpected laughter while making us contemplate the lives we’re currently living. Even if the offbeat humor isn’t to your taste, A Round of Applause just feels so original that it’s worth a look.

Hitmen are just cool. But rather than bring us the same fists and bullets that we usually see with these killers, Sakamoto of Sakamoto Days does his best to keep to his normal humdrum life, rather than jump back into the bloodshed. It’s an interesting twist to the gangster thriller. Rather than try to surpass any choreographed fights, or bring up the angst by killing everyone dear, the series humorously contrasts the over-the-top drama these assassins have over the straightforward ordinary life, which, as Shin realizes, is actually great. Sakamoto Days celebrates ordinary life as something worth protecting, and it’s pretty fun to see the crew do so.

A more cynical viewer might be put off by the pity party that happens in the first hour of When Live Gives You Tangerines (although as far as K-dramas go, this one is pretty mild). There is plenty of crying, especially by the child actors who seem forced to do the act. But it’s worth sitting through; the events that follow are lovely and moving. Set in the countryside of post-war South Korea, the series follows a young couple as they elope and raise a family with little means. It gets cheesy at times but leads IU and Park Bo-gum nail their characters to the ground, always keeping them relatable, likable, and true to times. The immersive production design and the clever time jumps pull you in and keep you longing for the next episode.

This new Russian thriller show has an immaculate production value that can rival the biggest Hollywood shows.

It’s about a deadlier flu pandemic than the one we’re living through; one that kills anyone who becomes infected. It strikes Moscow first, quickly throwing the city into chaos as criminal gangs take over.

The show follows two families who live in a wealthy Moscow suburb as they try to reach a safe haven. Based on the famous book by Yana Vagner.

Reporting for Duty is a delightfully chaotic workplace comedy that seeks nothing more than to entertain, and it fulfills this mission by packing each of its 30-minute episodes with lovable characters and silly plotlines. This alone makes it worth the watch, but it has layers to it that give it more heart and nuance than you’d initially expect. For instance, both the show and the precinct are led by the soft-hearted Suzano (Leandro Hassum), who proves to his team that you don’t always have to be tough and violent to get results. His presence also inspires the precinct to adopt a wider perspective and appreciate life outside the grind-and-hustle culture expected of them. To be sure, Reporting for Duty is a breezy, lighthearted watch, but I appreciate the underlying ideas that fortify its comedy.

Fear and paranoia are the hallmarks of plenty of thriller series, but Who Were We Running From? takes this paranoia on a whole other level. Based on a 2007 novel, the Turkish mystery series is centered around a mother-daughter duo with a codependent relationship. Flitting from hotel to hotel, what’s normal for Bambi is an unhealthy bond with her mother, to the point where they personally believe that it’s them against the world. Yet, on some level, as they attract scrutiny, this paranoia feels almost justified. Through cinematic visuals, contrasts between them and everyone else, and near silence from the mother’s perspective, Who Were We Running From? creates a compelling mystery that stands out from other crime series available on the platform.

After a whole pandemic, rising inflation, and a whole climate crisis the world hasn’t yet resolved, it can be hard to feel hope towards a new day. However, the third collaboration between director Oh Choong-hwan and screenwriter Park Hye-ryun feels like a reminder to keep hope despite life’s circumstances. Castaway Diva has the classic manic pixie dream girl, but you have to admit that Seo Mok-ha’s optimism and survival instincts despite serious life circumstances makes it easy for her to root for. The way she appreciates what modern life has to offer makes it easy to appreciate how much good came up even just within 15 years. And with an unexpected mix of ecology and abuse themes, it stands out from other dramas, even when it gets instantly and unexpectedly serious.

Continuing on the 2021 film, which in turn, was the prequel to the Belgian-Dutch series Undercover, Ferry: the Series now delves into the titular mob boss’ start of his ecstasy empire. While the drug lord was suitably menacing in Undercover, Bouman in his beginnings is broke, trying to create bigger deals that would allow him to continue sustaining his small-scale drug pushing, and personally bumping with the cops in some botched buyings. As the future kingpin deals with day-to-day mishaps, there’s an old-school, lightly comedic tone as Bouman tries to gain the same respect he’ll get in Undercover. It makes for a goofier and less serious side on the all-too-familiar organized crime plotlines, and makes it a fun series to watch.

Tragedy can strike at any time, but some instances are preventable, and rare is the instance where people do seek justice for it. After all, after losing so much, it would be awful to fight and lose again. But these instances do still exist, and one such incident is the Uphaar cinema fire. Trial by Fire depicts this tragedy, but rather than focusing on the fire itself, it focuses on the fight the victims’ families took in order to seek justice. The show doesn’t play out as a courtroom drama, it takes an intimate look into their day-to-day actions, faithfully portrayed by the excellent Rajshri Deshpande and Abhay Deol. And while the industrial giants depicted tried to file an injunction against this show’s screening, thankfully, Trial by Fire is still able to make its stand. It’s solemn and grim, but it’s a potent reminder of the power we hold as a collective.