100 Best Foreign Shows on Netflix Right Now

In Love All Over Again has many of the romance tropes fans of the genre would enjoy. The star-crossed lovers, the gay best friend, the absent-minded but well-meaning parent, and the classic romance drama jobs are present in the series. However, unlike other series, the show literally starts off with a bang. The main couple don’t get separated because of toxic dynamics or tragedy, but literally because of the 2004 Madrid train bombings. But this isn’t just a one-off event, it’s the event that shifts Irene’s life forever, as she tries to heal and process the event as best as she can. Some of the series’ plot points may not be new, but it’s sincere in examining how that event affected people’s lives, without being overly dramatic. The resulting series is sweet and it captures the Y2K nostalgia that’s currently en vogue.

With games creating whole virtual worlds, with stunning landscapes, powers, and storylines, it’s easy to escape into the fictional simulations, to the point of being addicted. Good Night World reimagines this idea in the present as a family drama, where video game addict Tachiro Arima struggles to relate with his family because of his addiction. As the show progresses, the game integrates with the real world, with real life-threatening consequences, but the show slowly uncovers how this game unraveled the Arimas’ family bonds, through neglect, depression, and shared trauma. It’s an interesting series about connection and video games, if you can get into the world of the series.

Child kidnapping is any parent’s nightmare, and it’s the nightmare that drives the events of Spanish crime thriller The Snow Girl. Based on the 2020 novel of the same name, the limited series takes a unique double-pronged approach to the case at hand. The show goes through the regular police investigations we’ve seen previously, but it also comes mainly from the perspective of journalist Miren Rojo, whose previous trauma understandably limits her trust with the authorities. As the show moves the story from New York to Malaga, and switches between perspectives, and timelines, The Snow Girl adeptly maintains the novel’s original suspense, without over sensationalizing the crime at hand.

With an accounting mistake leading to being stranded in the desert, it’s hard to predict where VIVANT would lead us to. As corporate employee Yusuke tries to undo his supposed accounting error, he gets into a series of surprising events including having to negotiate with a terrorist, being accused of a bombing, and escaping to a Japanese embassy… and that’s just in the first episode. But rather than feeling overly complicated, the story feels exciting, like something akin to a spy thriller, with its large-scale sets, multi-country stakes, and the mystery of a secret organization. Vivant feels totally unexpected and out of left field, but it’s definitely a unique and entertaining watch.

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.

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.

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.