The Best Movies & TV Released in The Past Year (Page 2)
This website is all about bringing you the best movies and shows to come out in the past ten years. But if you’re looking for even more contemporary entertainment, here are the best movies and shows to stream that have come out in the past 12 months.
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This movie is a wild ride, literally, since it mostly takes place on a bus driving really fast. It’s about one Russian-American social worker who gets hung-up between helping his community driving a group of elderly Russians to a funeral or helping the people he’s hired to help.
In its essence, Give Me Liberty is a comedy where the chaos doesn’t stop escalating, but thanks to impeccable character work and excellent acting, it’s a relevant and poignant movie. You will find yourself in the same position as the social worker, trying to decide who needs his help more.
Hanna the movie was the perfect mix between a coming-of-age story and a Bourne-Trilogy-type thriller. It was suspenseful, edgy, and so original.
How to make these attributes stick when the movie is stretched to a TV show? As it turns out, more of the same does the trick.
The majority of events have been imagined especially for the show, and it doesn’t stop there. The series is packed with great new talent who bring their uniqueness to the story. Hanna herself is played masterfully by British actress Esme Creed-Miles. Her father – much more present in the show than the movie – is also amazingly played by Swedish actor Joel Kinnaman (you may recognize him from House of Cards or The Killing).
High production value and incredible suspense make Hanna an enjoyable and prolonged thrill ride. It’s even more fun if you’ve never watched the movie, as all plot developments will be new to you.
Hugh Jackman, Allison Janney, and Ray Romano star in this true story of a big academic corruption case. Hugh Jackman is (of course) excellent as a successful and dedicated superintendent with a complicated personal life. However, when a curious student with the school journal starts digging around in a project he promotes, she uncovers what will become the largest public school embezzlement in the history of the U.S.
The performances stretch the story to its full potential, as this movie would be nothing without its incredible cast. It should be watched for the acting. Eventually, it suffers from a problem common to all movies based on newspaper articles: the story can be told in a single article.
This comedy is about a girl whose family moves to the U.S. on September 2001. She grows up to excel academically but, as she asks from the shrine in her room on her first day of sophomore year, she has yet to be cool. “I want to be invited to a party with hard drugs,” she prays, “not to do them, but just to say: no cocaine for me, thanks. I’m good.”
The show is narrated by tennis legend John McEnroe who was known for his explosive temper (played recently by Shia Laboeuf in Borg vs McEnroe). It’s a genius arc because Devi is a “hothead”, exactly like McEnroe. Instead of recoiling, Devi keeps boiling over, making for a fresh and original high-school comedy.
Terrence Malick (The Tree of Life) is back in full form with this three-hour movie based on a true story. His creation has one of the most beautiful depictions of happiness ever seen in film, portraying the simple yet joyous life of a farmer in the Austrian mountains. You’d have to see it for yourself to understand, but how Malick depicts this character’s love for his wife (and her love for him), their children, and even their farming rituals are nothing short of cinematic wizardry.
This peaceful existence changes when World War 2 intensifies and this farmer is called to serve for the Nazis. He refuses to enroll out of principle and puts himself and his family at great danger and alienation from their village. The question at the center of the film is one that other villagers and the church ask him a lot: what good can his actions do? And the title of the movie is taken from A George Eliot quote: “The growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs.”
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 lovely romance is about Ellie, a straight-A student who takes money from a classmate, Paul, to write love letters for him. Ellie does this to help with the household bills but there is one big problem: the girl Paul is in love with is also the girl Ellie has a crush on.
This might seem like the set-up for a standard Netflix comedy (and if you’re thinking Bergerac, you’re right, it is based on the famous play) but as the introduction of the film reads: “This is not a love story … not one where anyone gets what they want.”
It is in fact, personal work from a brilliant and quality-focused director, Alice Wu. Her last movie, Saving Face, a pioneering lesbian romance set in an Asian American context, was released a long 15 years ago.
This wonderful Italian epic made by HBO was a huge hit in Italy but remains little-known elsewhere. It’s based on four famous books that tell the coming-of-age story of two brilliant girls who grow up in a poor suburb on Naples in the 1950s. It also has scenes from the current time where one of them mysteriously disappears. Amazing production value, acting, and story make this show so easy to get hooked to.
A biopic is only as big as the personality at its center, and what a personality Pavarotti had. The Opera singer that crossed into the mainstream from his humble upbringings in Modena, Italy, exuded happiness and had a great outlook on life. And even as the attention he would eventually attract takes its tole, he’s able to maintain his positivity and his dedication to his art. This documentary on his life and his work will be even more interesting to you if like me you didn’t know who Pavarotti was, or the impact he’s had.
Shot almost entirely in one take and on a tiny budget, and yet the central performance in this movie is still better than most big-budget dramas I’ve seen this year.
Two indigenous women, one upper-class and the other impoverished, meet on the day that the rich one gets an IUD and the other one, pregnant, finds herself kicked out of her home. They spend a few hours together: they talk, they take cabs, walk, etc; and you as a viewer, follow them throughout their intimate yet difficult moments.
If you like subtle movies that showcase how people live and interact with one another, beyond plot-obsessiveness, this is for you.
Like a Wes Anderson movie, The Last Black Man in San Francisco takes artistic risks and nails every one of them. There are many quirky, aesthetically well-studied, and even funny aspects to this moving story.
Jimmie has been maintaining a typical San Francisco Victorian house, regularly painting the windows and watering the plants. One small problem: other people live there and they don’t want him around. It turns out this was once Jimmie’s family house, having been built by his grandfather in 1948, and he misses it deeply.
This story is based on writer Jimmie Fails’ life, as he tried to reclaim his family home in SF. However, it’s not a movie that limits itself to gentrification. It transcends that to being about the universal yearning to find a place to call home.
This Danish film which was the country’s submission to the Oscars is about a delicate subject. A lawyer who specializes in defending children, and who is used to developing closeness with her clients including meeting with them in her home, starts having an affair with her teenage step-son.
There is inherent tension to this obviously very explicit plotline: how would a serious, non-erotic (or not-only-erotic) movie like this one portray such attraction. And of course, afterwards, what are the implications?
A unique insight into the Israeli-Palestinian conflict through one case of violence that rocked public opinion in both countries: the abduction of three Israeli boys (hence the show title) and the retaliation by Israeli extremists who abducted a Palestinian boy. This case would eventually spark the 2014 Gaza war. It’s slow, it requires subtitles, and the acting is not always sharp but there might not be a piece of storytelling that reflects how those two societies perceive each other more than this American-Israeli show.
A poetic and peculiar movie from Senegal about a girl who is forced to marry a wealthy businessman instead of her love interest. The latter, a poor construction worker, embarks on a risky journey across the sea to Europe. The story takes a supernatural turn thereafter, one that is unlike anything seen before in stories around immigration, but one which makes sense. Still, the excellent acting and the long takes that immerse you in what life is like in Senegal, both in and out of the margins of society, are the reasons to watch here. Atlantics’ characters are believable and will capture your interest throughout the usual and unusual parts of the movie. They provide rare insight into narratives that most of us have never been exposed to.
Tim Robinson, who was briefly a Saturday Night Live actor, writes and stars in this series of hilarious and absurd comedy sketches. Every episode is 20 minutes or less and has about five or six skits. Robinson is supported by an array of talented actors like Andy Samberg, Cecily Strong, Will Forte, and Steven Yeun. The show starts off strong with possibly one of its best sketches – a job candidate who snaps when confronted with the small mishap of not knowing how to open a door. Then it moves to more absurd territory, like a horrific encounter caused by a “honk if you’re horny” sticker, a baby peageant that goes wrong, and so on. The brand of comedy is unique, and you will probably know if you like it or not from the first sketch alone (if you don’t, there is probably no reason to keep watching). Fans of The Eric Andre Show and Key and Peele will love this.
In After Life, Ricky Gervais plays a kind-hearted journalist who turns dark after his wife passes away. Her parting gift to him is a video manual on how to deal with life. But his pessimism and annoyance with people keep delaying him from watching it. Worst of all, a new recruit at the newspaper is assigned to work with him. Her determined personality not only further delays him from dealing with his sadness, but gives him the platform to be even darker and more pessimistic. After Life is a mix of dark humor, straightforward drama, and tragedy. It’s a difficult story packaged in the easiest and most digestible TV form. The episodes are quick, have clear arcs and plot; and yet, you won’t be able to shake the feeling that you’re watching something much deeper than a Ricky Gervais comedy.
A quiet movie about an unpredictable convict who gets enrolled in a wild mustang taming program. These initiatives, common around the country, offer fascinating parallels: both the horses and the inmates are emprisoned, both innately fight against their condition but are actively being made to comply. The central performance by Matthias Schoenaerts is nothing short of a masterpiece. He doesn’t speak much and you almost don’t want him to: everything else he does communicates so much more than words. Watching this movie just for him is reason enough.
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.
In 1845, two huge and aptly named ships, the HMS Terror and Erebus, were sent on an expedition to the Arctic to find the Northwest Passage, a century-old dream of connecting Asia and Europe through North America. Now, even when all went well, an Arctic expedition in the mid-19th-century was a pretty horrific affair by today’s standards, and, as you can imagine, all does not go well. In addition to the bitter cold, the cannibalism, and the malnutrition, The Terror throws in some hideous creatures from Inuit folk tales into the mix that hunt and maim the poor sailors. At its core, however, this is not fantasy horror. Co-produced by Ridley Scott and starring Jared Harris from Chernobyl, The Terror is unrelenting in the depiction of the hopelessness on board the two ships. Great timing and a pervasive sense of dread make this a must-watch for every fan of period-piece horror movies.
Three unassuming housewives team up with a violent street gang to make a little extra cash. What better TV show premise could you ask for?
Good Girls is the often hilarious, always thrilling show dubbed “Breaking Bad meets Thelma And Louise.” The three lead actresses are fun and have great chemistry together as they navigate a sometimes fast-paced show, and other times a family drama.
And that may be the only issue with this show, it doesn’t exactly pick a lane. However, if, like me, you don’t mind a little Detroit housewive drama mixed in with your thrilling scenes, you’ll have a great time.
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This Eddie Murphy comedy had all the ingredients to be both a famous movie and an award-winner, but neither happened. It tells the true story of Rudy Ray Moore, a comedian who became famous for creating a character called Dolemite, a pimp, and who later attempted to make his own movie based on the same character. Murphy plays Rudy, but there are also other recognizable faces in supporting roles: Chris Rock, Wesley Snipes, Keegan-Michael Key, Snoop Dogg, and many others. It’s above all a funny movie, but being Eddie Murphy’s first R-rated movie since 1999, it’s also a realistic portrayal of both 1970s L.A. and the struggles of being a black filmmaker at the time.
Watch this if you like weird movies. And don’t be fooled by the first half, which serves just to set Jesse Eisenberg’s character and the monotone life he leads. It’s the calm before the storm, during which that character is attacked by a violent gang and decides to take self-defense classes in an unusual club. This is a movie about modern manhood and how it can lead to some pretty strange situations. Great performance from Eisenberg as usual.
After working on Prime’s TV series Verdict, Argentinian director Anahí Berneri has now made her Netflix debut with Elena Knows, a mother-daughter drama based on the book of the same name by famous novelist Claudia Piñeiro (International Booker Prize Shortlist). Berneri has not lost her arthouse touch, on the contrary, Elena Knows looks lush and minimal at the same time. With the use of shallow focus, the cinematography presents the world as an inhospitable place to the protagonist, Elena (Mercedes Morán, recently in Netflix’s The Kingdom), whose advanced Parkinson’s robs her of her agency, day after day. Very early on in the film, she loses her daughter and carer, Rita (Erica Rivas you might know from Wild Tales), and her absence leaves a gaping hole in the life of the grubby elderly woman. Berneri’s newest film owns up to its investigative thriller elements as Elena insists her daughter has been murdered, but at its heart, it holds a paradox: that of maternal love and parental hatred.
Jim Carrey stars in this unusual show dubbed a “tragicomedy”. He plays Mr. Jeff Pickles, the host of a beloved children’s show who has a do-gooder way of looking at life.
In contrast to his job cheering up kids and giving lessons in what’s good or bad, he has to deal with a dark reality: the passing of his son. His wife left him as a consequence and he lives alone and away from his family.
Kidding is about the contradictions that a life in show business brings and about what it takes for an optimistic person like Jeff to break. Produced and directed by Eternal Sunshine of the Spotless Mind director, Michel Gondry.
At first glance, those who enjoyed Hulu’s Ramy might be tempted to view this as the UK version of it. However, Man like Mobeen is a bit more street than Ramy and a lot more British. It’s also not so much about being a good Muslim. Mobeen (Guz Khan), Eight (Tez Ilyas), and Nate (Tolu Ogunmefun) are three mates from Birmingham. Two of them happen to be Muslim but it’s not a big deal. Except it is because of the way Western society sees them. Mobeen, the head of the group, takes care of his sister, Aks (Dúaa Karim), in the absence of his parents, trying to be a good guy, while also trying to escape his past as a drug dealer. In the first episode, a transaction to buy a laptop results in three SWAT teams closing in on them for no reason. (When Nate runs off, the police officer asks the others why he ran, and Mobeen says: “If I had to guess, I’d say it’s because he’s black.”) Much of Man like Mobeen is laugh-out-loud comedy, but there’s a healthy dose of wokeness to be found here, too. Teenage knife crime (in the second season), the rise of right-wing sentiment, and the police’s history of violence towards immigrants are effortlessly woven into gags. Very funny!
An endearing show about a working-class town and their team who had just been demoted out of the English Premier League. Nothing is going well in the town of Sunderland, and to put it in the words of a fan, if the team doesn’t do well (it doesn’t) “that’s just the last nail in the coffin”.
This story of a failing team struggling not to let down its town makes you an instant fan and puts you through the disappointment and triumphs that life-long supporters have to live with every week.
With everything from game footage to interviews and behind the scenes politics, it’s also the perfect fix for anyone who misses sporting events.
Keira Knightley stars in this incredible true story of an Iraq War whistleblower who remains relatively little-known in the U.S. Katharine Gun was working for the communications office for the British government when she received a memo in the months leading to the war that showed that the U.S. requested illegal wiretapping assistance from the U.K. on U.N. diplomats. In a heroic act, she chooses to share this memo, hoping that it would stop her government (then led by Tony Blair) from going to war. Spoiler alert: didn’t happen, but this decision, which first seemed like a personal sacrifice, has severe implications on her family as the government finds out that she was behind the leak. A compelling political mystery of a case that deserves much more attention than it once got.
Sophia Castuera’s first feature after two indie shorts seems like a low-key affair, but it fits neatly into a canon of post-mumblecore, or a Gen Z mumblecore. It features a fumbling protagonist named Cal and played by Ali Edwards (who also wrote the script), a wanna-be actress fresh out of college who finds herself stuck between two people. Not just any people, but her childhood best friend Jay and his long-term girlfriend Emily. August at Twenty Two queers the love triangle trope and makes the most of the characters’ anxieties, their hopes, and awkward daily sacrifices to climb up into each other’s good books. Appearances are key, of course, since everyone’s delightfully immature. The good thing is that the film knows all this very well and even sneaks a post-ironic hint or two. That said, its self-assurance is also its Achilles heel: you cannot convince me that twenty two year olds would call each other often enough to have voicemail.
This slow romance is set in a Seoul bakery during the 1990s. A boy fresh out of juvenile detention and a part-time employee fall for each other while working there. For a while, their existence is joyful and quiet as they sell bread and bond.
However, the Asian financial crisis of 1997 forces the bakery to close. This makes them seek different jobs away from each other.
As a romance, Tune in for Love is not original but it doesn’t need to. It’s just easy and enjoyable.
This comedy-drama is about a British family that moves from England to Corfu, Greece, in hopes of a better life.
At first the cultural shocks and mishaps are hilarious, but The Durells quickly becomes a heartfelt drama centered around the mother, who has to push through a lack of money, new responsibilities and a sense of loneliness on top of the cultural adjustment.
From the Oscar-nominated cinematographer of City of God, this is a Brazilian Netflix TV show that I can only describe as a smarter Hunger Games. In a dystopian society, the majority of the planet’s population lives in extreme poverty while a select 3% (hence the title) live in a heaven-like world called “The Offshore”. Every year, the 20-year-olds of the planet get a chance to join the 3% in a selection process that for the first time might harbor moles. With an intriguing first episode that shares just enough to keep you informed but engaged, it’s easy to want to binge-watch the whole first season of 3% in one sitting.
Bosch returned recently for a fifth season, with a sixth one confirmed. It’s a sleeper hit that you may not have heard of, but with time should get the coverage it deserves. Titus Welliver (Lost, Sons of Anarchy, Argo) plays an L.A.P.D. homicide detective who is on trial for using questionable methods during a fatal shootout. At the same time, he is trying to solve an open murder case. Bosch is carried by almost entirely by Welliver, who delivers such a good multi-layered performance that it’s hard to think anyone else could have played this character.
Irish director Lorcan Finnegan’s follow-up to the social dystopia Vivarium, too, centers around the trials and tribulations of a nuclear family. Overwhelmed by work and struck by an inexplicable disease, Christine (played by Eva Green) seems to have forgotten she employed a caretaker for her daughter Bobs. The plot thickens when a Filipino woman named Diana rings the door bell: what kind of mother forgets something like that? What follows is as nightmarish as it sounds, the film’s visual potency summoning one’s deepest fears and anxieties about reality slipping away. Green and Chai Fonacier (Diana) play an exquisite game of cat and mouse, but even the psychological thrill of that chase is not significant enough to overthrow the dubious racial politics at play. By the end, Nocebo makes an effort to position itself on the right side of history, but the power of its political critique wanes and wanes.
Paul Giamatti and Damian Lewis (Homeland) star opposite each other as a prosecutor and a billionaire suspect in this well-crafted drama. Axe is a venture-capitalist who lost his business partners in 9/11 and who is widely appreciated in the public eye for his charity work. He comes under scrutiny from a ruthless and unusual public prosecutor (Giamatti) after allegations of insider-trading. The two alpha-male types go head-to-head which makes for an immensely watchable fight.
This unique romance is set during a time when a man would be sent the painting of the woman he was to marry before the wedding could take place. Héloïse, secluded with her mother and a maid on a remote island, doesn’t approve of her upcoming wedding and refuses to be painted. Her mother sends for a new painter, Marianne, to try to paint her without her noticing. Marianne has to take on this near-impossible task when she starts having feelings for Héloïse. This makes for a riveting romance where Marianne has to choose between her heart and her art while keeping a huge secret from her love interest.
The body of a footballer from Togo is found in a small Belgian village. Suicide is suspected, but things don’t quite add up. Recordings of Skype sessions with his family show him happy, excited and looking forward to sending money back to them.
The seemingly quaint town where the incident takes places sees its secrets uncovered by a detective from Brussels. The farm where the body was found harbors Nazi symbols, 100-year-old weapons, and um.. a dominatrix.
If you liked Broadchurch or Happy Valley, you will love The Break. It’s a true hidden gem that sports a production value rivaling the biggest U.S. hits. A good reward for anyone willing to turn on the subtitles (or the dub).
The humor, oh the humor! It’s a breath of fresh air to be laughing with a Woody Allen film and not at it. He is so good at capturing the cheekiness in meet-cutes, secrecies, and lies, all powdered with exaggerated Frenchness. Forgive my surprised tone, but Coup de Chance surpasses all expectations in the way it turns a rather banal plot into an entertaining game of cat and mouse, without overstepping the boundaries of good taste. In developing a story about female infidelity (or all infidelity, for that matter), one can be overly moralistic just to squeeze out laughs and empathy from the viewer, but Allen refrains from all those cheap tricks. His script is tight and at times ridiculously funny. Whether or not you get behind Fanny and her convoluted ways of seeking happiness, Coup de Chance will offer you plenty of instances to better understand the character in a constellation of other people, who are equally affected by her decisions. In a way, the film is a comedy of ethics as well — something the American director hasn’t successfully done in a long, long while.
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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).
Surprisingly heartwarming and enjoyable, The Unbearable Weight of Massive Talent turns its over-the-top premise into a tribute to the one and only Nicolas Cage. Playing an unfulfilled and broke version of himself, Cage’s next gig is an appearance at eccentric billionaire Javi Gutierrez’s (Pedro Pascal) birthday party. They strike up an instant bond over their love of film. However, the CIA suspects Gutierrez’s involvement in a political kidnapping, forcing Cage to investigate his friend. The film brilliantly employs those 90s-esque action tropes that Cage’s movies are known for – the car chases, the sunglasses, and the eccentric characters. Cage himself fully commits to the premise, but Pedro Pascal adeptly matches his energy with his easy-going charm. Their moments together and their shared love for cinema makes this a great watch.
The 1980s were not a great time to be of Pakistani descent in the UK. Hate crimes are at an all-time high and the economy is suffering. Plus, there is really no good era to be a misunderstood teenager. Javed is both those things in this coming-of-age comedy based on a true story. Javed finds solace in the music of one Bruce Springsteen, relating to his themes of small-city blues and the dreams of escaping them.
All of this makes Blinded By The Light a charming movie about a lot of unpleasantness, and while it tries to be too many things (a commentary on race, a musical, a coming of age story, etc), it succeeds where it matters: to treat the story with care and intelligence.
This beautiful drama is set over a summer in New York State. Kathy and her son Cody drive to her estranged sister’s house, who had just passed. Kathy plans to quickly sell the house and go back to her normal life but that doesn’t happen when she learns that her sister was a hoarder. Forced to spend more time cleaning the house, her son sparks a friendship with the next-door neighbor, an old Korean War veteran.
Now, I know what you’re thinking, Gran Torino, right? The initial set up is the same but in Driveways is much more realistic, and its characters don’t really need to be redeemed (no one is screaming “get off my lawn” with a shotgun). In fact, the actor who plays the old man, the fantastic Brian Dennehy, brings so much kindness and heart to the story. It ended up his last movie before his passing, and what a beautiful farewell his performance is.
The drug trade is international, but it is rarely portrayed as such on TV. Drug thrillers often take place in one country and in one or two languages (usually Spanish and English) – but in reality, there are producers, buyers, and sellers, all based in different parts of the world. So a show depicting the drug business in a realistic way should also move around the world. ZeroZeroZero is that. It’s a fast thriller set in many countries: The U.S., Italy, Mexico, Senegal, and Morocco to name a few. The stunning cinematography bounces between contexts seamlessly, telling a nihilistic yet thrilling story of a conflict that starts within the Italian Mafia.
A thrilling French movie about a nuclear submarine division that is confronted with a world-ending scenario.
One sonar agent is at the center of the story, his exceptional hearing capabilities are the main resource of the submarine commanders he works for (one of whom is played by the masterful Reda Kateb).
Wolf’s Call tries very hard to be a Hollywood movie, but even if it serves as a reminder that countries like France don’t have to always make arthouse films to be noticed, the visual effects and the writing fall short of that big-budget feel.
Still, if you’re looking for a fun movie that’s full of surprises, solid acting, and a great heroism tale, you’ll love this.
TV nerds know that Orange is the New Black, as much as it’s hailed in the U.S. for being ‘crazy’, doesn’t deserve that title. It’s only a mellow take on the women prison genre that was perfected outside the States. The Australian show Wentworth is one example and Vis a Vis (or Locked Up) is another. The show starts with an inmate being boiled alive.
Macarena Ferreiro is set up by her boss/lover and ends up in prison for tax crimes. First naive and used to luxury, she has to adapt to harsh prison conditions, and harsher inmates. On the outside, her parents try to secure a large sum to pay her bail.
This earnest documentary is about filmmaker and actress Maryam Zaree’s journey to unravel the truth about her birth. Her parents are part of a generation of Iranian revolutionaries who were jailed, many executed, and now have taken exile in Europe. The torture and difficult prison conditions they experienced are cause for so much trauma that Maryam, born in prison, has not been told anything about her birth. Her mom, now Germany’s first foreign-born mayor, cannot get past tears to tell a story that Maryam is determined to know.
Her mom is not the only one who is unable to tell the story, as Maryam’s quest uncovers more silence. In the end, Born in Evin is as much about the question of “is the truth worth getting told?” as it is about the truth itself. It’s a heartfelt exploration of trauma, both for the generation that experienced it and for the generation that follows.
This uplifting Canadian sports drama is based on a true story set in the remote Nunavut town of Kugluktuk. The small community has the highest teen suicide rate in North America, as it suffers from intergenerational trauma, and the resulting alcohol and drug abuse. A new young history teacher who is sent by the government is shocked by the state of the school and the lives of the teenagers. He realizes that he can’t engage the kids with history, and turns to his passion for Lacrosse to try to ignite change.
The teacher and director of the movie are both white, which, added to the story, raise red flags about white savior tropes. But thanks to First Nation producers who made sure the kids had time to develop their characters, The Grizzlies narrowly misses disaster. Instead, it gives a voice to communities that are rarely heard from.
Logan Lerman (The Perks of Being a Wallflower) and John Hawkes (The Sessions) star in this easy road drama about a father who tries to rekindle with his son. After the mother passes away, they try to execute her dying wishes of spreading her ashes in her home country of Ireland. The son, Lerman’s character, is freshly released from jail and accepts to take the trip on the one condition that he never sees his father again. This premise makes for a fun mix between a family drama and an adventure movie. Both characters have a lot to discover in Ireland: about the country, each other, and themselves.