80 Best Foreign Movies on Netflix Right Now

Written, directed and starring the auteur Stephan Chow, Kung Fu Hustle is a distillation of decades of Hong-Kong Cinema’s greatest export : the martial arts comedy. Full of numerous allusions and witty nods to other greats in the genre, this film is nonetheless entirely fresh and new. Equal parts hilarious and breathtakingly action-packed, Kung Fu Hustle showcases an enormous amount of raw talent, cinema magic and ass-kicking for any true cinema connoisseur.

It’s slower and talkier than you’d expect from a semi-erotic film, but Ehnegard lives up to its title well enough to satisfy. It’s titillating, but in a cheeky rather than provocative way. The dialogues are lengthy, but they’re alternately witty and poetic, so despite the pace they never actually bore. Ehnegard’s real delight, however, is its beauty. Set in the old kingdom of Babenhausen, Ehnegard looks like a fairy tale come to life. The towering castles, the sprawling meadows, the twinkling forest lakes, and of course, the smartly costumed people who populate the scenery—all these and more ensure that each frame has a picturesque glow to it. And with Sidse Babett Knudsen (Borgen, Westworld) taking charge of an appealing cast, Ehnegard proves to be a charming watch.

Family is one of the bonds we don’t really get to choose, and for better or for worse, they’re the bonds that form the foundation of our lives. Familia depicts this bond faithfully, as Leo’s remaining family, his three adult daughters, all travel back to the family’s olive orchard to decide on its fate. The way the bond is depicted feels realistic, as each of the family members can confront each other with their choices in the one time of the year they can do so. The film is able to make it work with its excellent cast, and carefully written dialogue that makes the conversation flow naturally. While Familia isn’t a holiday film, it’s a fairly realistic depiction of a family gathering and a timely film to watch before heading home to your family for the holidays.

This story involves a jealous sister and a boy, which is enough of a foundation for a suspenseful story. Though a bit lacking in depth, onscreen interactions carry a lot of emotional weight and strike the balance of having enough said and unsaid. The upbeat pop hits and casual banter throughout goes a long way to at least break up the film’s heavy atmosphere. At its heaviest, it is raw and glorious in its unraveling, placing the ugly side of grief next to the alluring side of envy. But throughout it all, it treats the plot with enough respect to not just be some cheap glorified fantasy.

Of course, as a serialized medium with plenty of volumes, it isn’t easy to condense manga into movies. Many a title have let down fans before, especially with the notorious live action curse. But there are some films that capture the energy and excitement of the original, and one such film is Kingdom. Not to be confused with the Korean Netflix show, the Japanese film is a thrilling depiction of the Chinese history-inspired story, with excellent choreography, elaborate sets and costumes, and all the battle scenes expected from the adaptation. It’s not particularly deep, and they really brush over Shin’s loss in favor of much more swordfighting, but it’s not bad if all you’re looking for is epic action in historical dressing.

This film is immediately charming and spends ample time taking you through the mind of Goyo, to where you see where the wheels start turning in his head for each new interaction. It captures his infatuation, obsession, discomfort, and panic, without overdoing or over-explaining anything. Goyo himself (Nicolás Furtado) is an excellent heart of the show with his friendliness and sincerity, but stealing the show alongside him are his and Matute’s (Pablo Rago) solid sibling dynamic and Saula’s (Soledad Villamil) ice cold confrontation skills when you get to see it. It’s a very sweet film that avoids being cheesy, and I imagine Goyo himself would find this movie to be decent if he saw it.

The documentary starts off with a feeler that this is a wild soap opera, a real life science experiment that cannot be enacted in good conscience. If you’d never read the blurb, you’d see the coincidences slowly revealed layer by layer until the story finally clicks. Early on, it feels reliant on telling as opposed to showing, but it could just be a case of working with what you have footage-wise. The openness of our main interviewees does get better with time, but the exploration of the psychological effect and implications of such an event was lacking considering the level of coincidence we’re dealing with. All in all, it’s heartwarming, albeit with the exciting story beats very spaced out.

Through dreamlike colors and tears clouding my eyes, Drawing Closer paints a painful depiction of persistence in love and death. Initially, a number of coincidences and significant details about our main characters Haruna (Natsuki Deguchi) and Akito (Ren Nagase) and their interconnectedness seem to sprout up conveniently, without much weight behind them. But once the ball gets rolling, the film is feel-good in the worst way, an emotional deathtrap, and the most dangerous movie in the world for those who believe in love, and those perpetually afraid of dying in an expensive deathbed. Just thoroughly devastating and beautiful. A 10 in my heart.

Thithi is a 2015 Kannada film from India that begins with the death of 101-year old Century Gowda, and follows his family as they prepare for his funeral celebration 11 days later. The story-line focuses on 3 generations of his descendants, as his son, grandson and great-grandson are caught up in individual dramas related to the impending funeral as well as their own personal aspirations. His son Gaddappa, an elderly wanderer, absconds with a traveling family of shepherds, his grandson Thammanna hatches an elaborate plan to claim the family land for himself, and his great-grandson Abhi becomes enamored by a young shepherd girl whom he pursues doggedly. Filmed using non-professional actors recruited from villages in the southern Karnataka state of India, Thithi is a humorous and enjoyable portrait of life in a rural part of South Asia rarely seen by the world-at-large. As a realistic slice-of-life, the film gives the viewer an outsider’s glimpse into not just the lifestyle of many residents of rural India, but also their elaborate customs and rituals related to death according to Hindu tradition. Thithi is the type of film that moves at its own deliberate pace, but ultimately provides a winning experience in both its storytelling and its cultural significance.

Based on the 13-episode series of the same name, Violet Evergarden tells the story of Violet, a scribe commissioned to write letters at a time when telephones and computers had yet to exist. Shell-shocked from her time in the war, Violet is exceptionally stoic, except when she remembers Gilbert, her military superior and sometime lover. His parting words were “I love you,” and through her letters, Violet has been examining the meaning of the phrase since then.

Fans of the series will have no trouble following the events of the film, but if you’re going in cold without any prior exposure to the franchise, it might take a while for you to adjust to its world. More an amalgamation of multiple cultures than a reflection of just one, the imaginary Leidenschaftlich is filled with Japanese-speaking citizens, in modern-day-influenced clothes, with architecture and vistas that could fit right in 1800s Western Europe. Against this backdrop, Violet attempts to restart her life as a writer. Living often doesn’t feel easy, especially when PTSD comes in the form of shocks and painful flashbacks, but loving, as she finds out, might be even harder. A tale of self-forgiveness and forging on, despite all odds, Violet Evergarden is a moving ode to life and love at a time of war.