100 Best Foreign Movies on Tubi Right Now

Ask yourself how many Palestinian movies you have seen before. You will want to give this smart and twisty Academy Award nominee by Golden Globe winning director Hany Abu-Assad a chance to change your answer. Omar, a Palestinian baker, climbs the West Bank Wall to see his lover, Nadia, whom he wants to marry. When Israeli soldiers catch and humiliate him, he gets implicated in the shooting of an Israeli soldier, and eventually gets arrested and faces an extremely lengthy sentence. Later, his captors’ motives and his own get tangled up in politics, friendship, trust, and love. Omar is a highly realistic, compelling crime drama you don’t want to miss.

Midnight Runners is a hilarious and action-packed buddy comedy that delivers both laughs and thrills in equal measure. The film follows two police cadets who find themselves embroiled in a dangerous conspiracy after witnessing a kidnapping. The chemistry between the two leads is electric, and their banter and antics provide some of the film’s funniest moments. However, it also has its share of intense and suspenseful scenes, as the cadets race against time to save the victim and uncover the truth. Midnight Runners is a highly entertaining and enjoyable film that will keep you on the edge of your seat.

Slow, contemplative, but captivating, Baraka uses no narration, dialogue, or text to connect its images. The documentary stitches together shots with different subjects from different locations around the world. At first, it seems very peaceful—gorgeous, high-definition shots of nature paired with a soothing, resonant score that lulls you into hypnosis—but as the film progresses, director and cinematographer Ron Fricke presents more scenes with people, from the cities to the countryside, to places rarely documented on film. Depending on how you look at it, Baraka will either feel like just a compilation of screensavers or a profound meditation on how intrinsically connected everything is. It’s totally breathtaking either way.

More than a decade before she made Toni Erdmann, German filmmaker Maren Ade turned her eye on a small-town school, a socially awkward teacher, and the inarticulate in between. Even with her debut, Ade showcased a talent for spotting the hidden comic potential of situations that can be wounding, turning vulnerabilities into power through comedy. The Forest For the Trees is a dilemma-film, in the ways in which it both invites and rejects identification with Melanie. A frighteningly optimistic person, she misreads most if not all social cues and finds herself in embarrassing situations. Even more, her devotion to making it all work, after moving away from the big city for said teaching job, is something a lot of viewers can recognize and support, but her borderline unlikeability is sometimes too hard to ignore. However, a majestic finale crowns the film with a scene that is worth rewatching again and again, like a dream you wish to appropriate for yourself.

With a script that seems to have been written for a medieval fantasy, but set in a present-day Ivorian jail, Night of the Kings immediately situates itself between the realms of reality and imagination. Whether or not one thinks that certain details about the prison’s strange rituals have been lost in translation, the mysticism surrounding the events of the movie remains impossible to shake. The idea of improvising one’s way out of trouble should make sense in any cultural context after all, and this is what keeps the film on edge—and what helps Night of the Kings work as such a singular vision from an often underrepresented region of world cinema.

In rural Korea a policeman starts to investigate peculiar and violent events that most of the people in his village attribute to the arrival of a new Japanese resident. As the occurrences keep multiplying, and different perspectives in the film are shown, you start to lose touch with reality in the face of what can only be described as genius film-making. As critic Jada Yuan puts it, the film operates on a level “that makes most American cinema seem clunky and unimaginative”. For this reason, and while The Wailing is a true horror flick with a great premise, it’s also more than just that: it boosts a mind-boggling, interesting plot that will have you thinking about it long after the credits roll. Protip: grab the person next to you and make them watch this movie with you so you can have someone to discuss it with after!

I always seek out Icelandic films; something about the quality of light and quirky sensibility that appeal to me. Having developed a fondness for sheep on a recent Welsh trek, “Rams” had a double attraction. A tale of brothers divided by life but ultimately united in and by their deep, tender, inspiring love of their rams. Close to perfection. Sigurdur Sigurdurjonsson is luminous in the lead role.

There isn’t a single moment of unnecessarily exaggerated emotion or comedy in this French-Danish animated film, which may keep its world very small compared to its peers, but it portrays everything with arguably more depth and beauty. Long Way North moves with a stately pace, giving it more dramatic heft and allowing us to take in all of the film’s painterly surfaces and soft silhouettes. But it’s not just the art style that sets the film apart; it also avoids what we expect from a traditional adventure, keeping the most important character beats private and internal. This may make the movie feel a little more distant than it should be, but the feeling that it leaves you with is undeniable—a sense that everything is connected, and those who are lost will always find a way home.

Mélanie Laurent both directed and wrote this, her fifth movie.

She offers an impressive display of deft film-making and honest, insightful storytelling. Charlie is a teenage high school student, there’s seemingly nothing unusual about her. When Sarah, a Nigerian girl, joins her school, they quickly form a transformative friendship.

Breathe sometimes veers to darkness, which helps to make its portrayal of the bond between two teenagers genuine, and unexpectedly fun.

No one likes to be replaced. Even when it gets difficult, hardwork and years put in effort to take and keep these roles makes it feel precious, and that’s exactly how househelp Raquel feels in The Maid. It’s a funny domestic comedy, with a scowling Catalina Saavedra ready to protect the role she’s held onto for years, but Saavedra and writer-director Sebastián Silva crafts an empathetic, realistic character study of a woman so worn down from poverty, power imbalance, and having had no breaks that the rare instance of compassion feels like a threat. La Nana doesn’t quite critique the entire system that keeps Raquel in her role, but it’s a rare film that acknowledges the importance of rest and empathy in order to feel human.