100 Best Foreign Movies on Tubi Right Now

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.

This dark French comedy is set in a neglected building in a working-class neighborhood. The elevator breaks and every tenant agrees to pay to fix it, except for the person who lives on the first floor. The neighbors go through with the reparations without the first-floor tenant, on the condition he never uses the elevator. Everything is fine until an incident puts him in a wheelchair.

Polytechnique directed by Denis Villeneuve, is a dramatization of the 1989 Montreal massacre of multiple female engineering students. This film focuses on a male student navigating the massacre for the majority of the film’s run time. The performances and minimal dialogue in this film certainly make this an unnerving film to watch. Littered with the screams of the actors portraying the engineering students, this could be mistaken as a gaudy horror film. However, this is far from a fictionalized horror.

This Villeneuve classic is undoubtedly one of the most emotionally brutal films of the 2000s, yet I appreciate the honesty of the storytelling. Polytechnique encourages its audience to ask itself if it truly understands the truth of misogyny. 

Despite being remade, parodied, and absorbed into pop culture over the years, the original Ring defiantly marches to the beat of its own drum. Focused entirely on building a slow-burn mystery instead of dispensing scares, the film provides ample space for a number of interpretations: on the spread of technology, the erasure of traditional beliefs, or even motherhood. It’s all relentlessly quiet and extremely creepy, the tension building with the same energy as ghost stories told around a campfire. And while famous for its eerie images and the rules surrounding its cursed videotape, Ringu also serves as a reminder that great horror should compel the audience to keep on watching, even if they already know exactly what awaits them if they do.

Don’t let the title and poster fool you—Riders of Justice isn’t the testosterone-filled action flick you’d expect going in (though it does get ridiculous at some points). It centers on deployed military man Markus, played by the appropriately masculine Mads Mikkelsen, who has to return home to his teenage daughter Mathilde after his wife dies in an accident. Instead of coping normally and sticking with his daughter to get through the tragedy, he goes down a rabbit hole discovering how the accident that killed his wife is more than just bad luck and may have been collateral damage from a gang orchestrating an assassination.

Surprisingly, director Anders Thomas Jensen injects this violent film with a lot of gentle moments about trauma and togetherness. Mikkelsen and the rest of the cast play off of each other very well, using dark humor to bring together a bunch of characters who are, in oversimplified terms, “fucked up but trying their best.”

It may seem like the guns, blood, and badass moments are a front for this film that, at its core, shows men who badly need therapy banding together to cope with the harshness of life. Extremely funny and deeply moving, it qualifies as a heartwarming Christmas movie, believe it or not.

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.

Unlike in other films that only seem to evoke a previous era to make a target demographic feel warm and fuzzy inside, there’s something vaguely artificial about Death of Nintendo’s air of nostalgia—which is exactly what helps it tell its story. There isn’t anything particularly novel about this movie’s plot or characters, but Raya Martin’s direction has us consider various themes between all the stuff you’d expect to see in a young adult movie. In moments of quiet unease that seem to punctuate every other sequence, we’re drawn towards the absence of father figures, the inability of the women to get through to their sons (already embedded in patriarchal customs), and the idea that one’s childhood in a Catholic country seems to be marked by physical pain. Beyond the film’s feathery lighting and colorful production design, there’s a surprising amount to think about.

When depicting war and faith, it seems like men are the only ones that have to undertake these challenges, at least it seems, in the stories made available about these topics. But that simply isn’t true. The Innocents is one of the few reminders that, while women might have been kept from the front lines, war has spared no one. Through stark and wintry shots, and a solemn direction, writer-director Anne Fontaine crafts tense conversations between an atheist doctor and her nun patients, making all of them reckon with the ways trauma has shifted their present principles and future actions, in a sensitive way that has rarely been seen before. While the resolution can come across as a bit too sudden, The Innocents nonetheless is a compelling study of faith.

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.