They say travel is the best way to see the world. I'd say the next best thing would be to transport yourself through international cinema. Most film lists online are dominated by American movies –– which only goes to show how titles that feature a main language other than English tend to get sidestepped by global audiences. But the world is a big place, and there’s more to streaming great films than Hollywood. To reset the balance and help guide your journey through contemporary world cinema, we’ve curated a list of the 100 best foreign-language films to come out in the past decade or so.
The 100 Best Foreign-Language Movies of All Time
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50.
The White Balloon (1995)
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There’s a universe of hard-hitting emotion hiding in Jafar Panahi’s deceptively simple debut feature, which follows a seven-year-old girl’s attempts to buy a goldfish before Nowruz, the Persian New Year, dawns. From start to finish, her shopping trip only takes 80-something minutes, and all of the action is confined to a couple of Tehran’s streets — but, because we experience The White Balloon in real-time through determined young Raziah’s (Aida Mohammadkhani) perspective, her simple quest is transformed into a perilous and profoundly emotional odyssey for audiences. Every emotion — from fear to wonder — is magnified through Raziah's eyes, so much so that an unfortunately timed gust of wind comes to feel like a punch in the gut, and the sight of a fluttering banknote a euphoric miracle. Co-written by master of the Iranian New Wave Abbas Kiarostami, The White Balloon wrings expansive humanism out of its tiny canvas.
Our staff rating: 8.7/10
Genre: Drama
Actor: Fereshteh Sadr Orafaee
Director: Jafar Panahi
49.
A Short Film About Killing (1988)
Even before any blood is inevitably shed during A Short Film About Killing (which serves as the expansion of another episode from director Krzysztof Kieślowski's Dekalog miniseries, alongside A Short Film About Love), there's something positively oppressive and sinister even just in the way the movie is shot. Kieślowski and cinematographer Witold Adamek use color filters to make the film deliberately ugly—as if the image is degrading right in front of us. Oftentimes shadows obscure the edges of the frame, shining a sickly yellow spotlight on the characters on screen. It's the perfect way to get right into the heads of these people existing in a lawless land driven by primal instinct.
When crime and punishment finally occur, they're equally difficult to watch unfold, but in different ways. Kieślowski lingers on the details—the tools and processes that we tell ourselves will make the act of killing easier. And what he's ultimately able to expose is how capital punishment has been made to seem humane, just, or necessary, when it's often even more barbaric, cruel, and unproductive than a crime borne of desperation. The very government that does nothing to address the roots of crime is the same one most eager to kill criminals instead.
Our staff rating: 8.7/10
Genre: Crime, Drama
Actor: Aleksander Bednarz, Andrzej Gawroński, Artur Barciś, Barbara Dziekan, Elżbieta Helman, Henryk Guzek, Iwona Głębicka, Jan Tesarz, Jerzy Zass, Krystyna Janda, Krzysztof Globisz, Leonard Andrzejewski, Małgorzata Pieczyńska, Mirosław Baka, Olgierd Łukaszewicz, Władysław Byrdy, Zbigniew Borek, Zbigniew Zapasiewicz, Zdzisław Rychter, Zdzisław Tobiasz
Director: Krzysztof Kieślowski
48.
The Kiosk (2021)
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This bittersweet little documentary about a Parisian newsstand will change the way you look at a kiosk forever: they’ll no longer seem like transitory stops on the way to somewhere, but a destination themselves. Director Alexandra Pianelli, whose family has run this particular newsstand for four generations, shoots from inside the tiny cabin, from where she and her mother dispense newspapers, magazines, directions, and friendly conversation with anyone who stops by.
Anyone who’s seen Agnès Varda’s Daguerréotypes — her fond portrait of the traditional shopkeepers of Rue Daguerre, the street she lived on — will recognize the same warmth and humane curiosity in The Kiosk, which documents a quickly fading way of life and the community that clings to it. As Pianelli movingly shows us, the kiosk is an invaluable fixture in the lives of an assortment of locals: regular customers (particularly elderly ones, who perhaps visit more for the company than the magazines), a big-hearted homeless man, and fellow vendors like Islam, a Bangladeshi asylum-seeker and fruit-seller who uses the kiosk to hide his merchandise so that French police don’t confiscate it. The decline of printed material that the film documents isn’t just a threat to the family business, then, but the very concept of a truly joined-up society itself.
Our staff rating: 8.7/10
Genre: Documentary
Actor: Aliénor de Nervaux, Damien Fourmeau, Gérard Jacq, Marcel Cierniak, Marie-Laurence Fay
Director: Alexandra Pianelli
47.
L’Argent (1983)
With his final film, octogenarian master filmmaker Robert Bresson found the violent, chilling truth in that old cliché, “money is the root of all evil.” L’Argent extends the simplicity of its title (literally, “Money”) into the fabric of the film, using an extremely bare style to track the devastating domino effect that a childish ruse has on one man’s life. When a shopkeeper realizes two schoolboys swindled him out of 500 francs with a counterfeit note, he decides to pass the problem on by paying delivery man Yvon (Christian Patey) with the false note. But when Yvon tries to pay for his lunch with the money, the police are called and his life unravels.
This is just the start of L’Argent’s clinical exploration of the meanness and littleness of man’s greedy spirit. Yvon’s downfall is chronicled with matter-of-fact coldness: everything onscreen is minimal, from the precise cinematography and frugal editing to the non-professional actors’ expressionlessness. This detached style encourages us to absorb all the bitter emotion of the story, which feels — in such an economical format as this — like a moral tale as old as time, but no less cutting.
Our staff rating: 8.7/10
Genre: Crime, Drama
Actor: Alain Aptekman, Caroline Lang, Christian Patey, Didier Baussy, François-Marie Banier, Gilles Durieux, Jean-Frédéric Ducasse, Jeanne Aptekman, Michel Briguet, Sylvie Van Den Elsen, Vincent Risterucci
Director: Robert Bresson
46.
Arrhythmia (2017)
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This is an excellent Russian movie about an ambulance unit and the paramedic that leads it.
His long-time relationship starts suffering from a combination of alcoholism and his devotion to his work, which are also linked together. This is set in a country where ambulances are underfunded and the health-care system is frail.
As a consequence, the story of Arrhythmia is one of a worker dedicated to saving their patients' lives in a system that seems not to care. This is portrayed in the ambulance's everyday missions, but also in the paramedic's decaying relationship. It's Blue Valentine meets an Andrey Zvyagintsev movie like Elena. Sadly, it might be more realistic than both those movies, and added to the fact that it's Russian, it has stayed severely under-watched since it came out.
Our staff rating: 8.8/10
Genre: Drama
Actor: Albina Tikhanova, Aleksandr Samoylenko, Aleksandr Yatsenko, Anna Ichetovkina, Anna Kotova, Anton Figurovsky, Boris Dergachev, Eduard Chekmazov, Ekaterina Stulova, Elena Drobysheva, Evgeny Muravich, Igor Brovin, Iliya Kovrizhnykh, Irina Gorbacheva, Konstantin Adaev, Konstantin Zheldin, Maksim Lagashkin, Nadezhda Markina, Nicholay Kovbas, Nikolay Shrayber, Polina Ilyukhina, Polina Volkova, Sergey Nasedkin, Sergey Udovik, Tatyana Rasskazova, Valentina Mazunina, Vladimir Kapustin, Yevgeni Syty
Director: Boris Khlebnikov
45.
Poetry (2011)
Poetry is a masterpiece from one of South Korea's most cherished movie directors, Lee Chang-dong. The simple story follows the everyday life of a grandmother, Mija, who works as a caretaker for a living. To fill her inner emptiness, she decides to join a poetry club with other grandmothers in her neighborhood. Meanwhile, as Mija deals with her own financial and health problems, she struggles to connect with her teenage grandson — only to find out that he is keeping a dark secret. If you are familiar with Lee Chang-dong works, then you know that the movie will tug at your heartstrings. But if you aren't, prepare to be moved.
Our staff rating: 8.8/10
Genre: Drama
Actor: Ahn Nae-sang, Chang Hyae-jin, Eun-yeong Kim, Hee-ra Kim, Jang Hye-jin, Jeong-hie Yun, Kim Eun-yeong, Kim Gye-sun, Kim Hee-ra, Kim Hye-jung, Kim Ja-young, Kim Jong-goo, Kim Nam-jin, Kwon Hyuk-soo, Lee Da-wit, Min Bok-gi, Nam Joong-gyu, Park Hyun-woo, Park Myung-shin, Yoon Jeong-hee
Director: Chang-dong Lee, Lee Chang-dong
44.
Children of Heaven (1997)
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After third-grader Ali loses the only pair of shoes his sister Zahra owns, the siblings agree to share Ali's sneakers for school. Zahra uses the tattered, ill-fitting footwear in the morning, and in the afternoon, she hands them over to Ali, who then races to get into school in time. The siblings wait for things to get better at home before they mention anything to their already-burdened parents, but in the meantime, they persevere, scooping up every bit of silver lining they find, whether it's popping soap bubbles or taking in the city's ultramodern sights.
In this way, Children of Heaven is neither cynical nor cheesy. It presents the harsh reality of Tehran's poor without robbing them of hope and agency, giving the movie the right amount of self-aware and feel-good that elevates it into a classic. Thanks to this masterful balance, plus many awe-inspiring shots and lines, it should come as no surprise that Children of Heaven is the first Iranian film to be nominated for Best Foreign Language Feature at the Oscars.
Our staff rating: 8.8/10
Genre: Drama, Family, Kids
Actor: Amir Farrokh Hashemian, Bahare Seddiqi, Kamal Mirkarimi, Mohammad Amir Naji, Reza Naji
Director: Majid Majidi
43.
Maborosi (1995)
Director Hirokazu Kore-eda’s feature debut is nothing short of a masterpiece, his style of serenity apparent from the get-go. With Kore-eda’s still frames and touching, relatable stories, it’s almost impossible not to find yourself caring for his characters like they are your own family.
In Maborosi, Yumiko (Makiko Esumi) is haunted by one loss after another and struggles to accept these tragedies and move on with her life. Her story is probably the toughest Kore-eda has had to tell, yet there is still a certain beauty to it, especially in its quietness and moody atmosphere. Not forcing any of his characters’ feelings on the audience, Kore-eda manages to tell a harrowing tale in the gentlest of ways.
Our staff rating: 8.8/10
Genre: Drama
Actor: Akira Emoto, Hidekazu Akai, Hiromi Ichida, Makiko Esumi, Midori Kiuchi, Minori Terada, Mutsuko Sakura, Ren Osugi, Sayaka Yoshino, Tadanobu Asano, Takashi Inoue, Takashi Naito
Director: Hirokazu Kore-eda
42.
A City of Sadness (1989)
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A City of Sadness is a film set in 1945, after Japan is defeated in the war and Taiwan is subject to uncertainties of a changing sociopolitical landscape. It follows the four Lin brothers, who each struggle in this tumultuous period — from Wen-heung, the eldest who gets on the bad side of a local gang, to Wen-ching, who chooses to stand against the Chinese Kuomintang government despite being deaf-mute.
Instead of turning to the usual machinations of a historical family drama, director Hou Hsiao-hsien shows the vast expanse of Taiwanese countryside through steady, beautiful cinematography. In urban areas, the camera moves in scenes of sudden violence, which it pans toward until it exits frame for us to only hear the screams of people offscreen. There are also quiet interludes that barely last a minute, where dynamics between characters depict the anxiety of the times. Tony Leung, who plays the deaf-mute brother, hasn't refined the craft of subtle acting with his eyes yet, but traces of brilliance are already there.
The trauma of rapidly changing times, as a nation is exploited from one war to the next, is depicted so clearly. The authoritarian state erodes families, and Hou paints a picture of a society on the brink, a representation of 1940s Taiwan that feels more like a tragic poem than a film.
Our staff rating: 8.8/10
Genre: Drama, History
Actor: Chan Chung-Yung, Grace Chen Shu-Fang, Ho Ai-Yun, Hsin Shu-Fen, Jack Kao, Kelly Ko, King Shih-Chieh, Li Tian-Lu, Mei Fang, Su-Yun Ko, Tai Bo, Tony Leung Chiu-Wai, Tsai Chen-Nan, Wu Nien-Jen, 吴念真
Director: Hou Hsiao-hsien
41.
Transit (2018)
Transit is based on a WWII novel — though you wouldn’t be able to tell from first glance. While the characters talk of German fascists occupying France, anachronistic details (like modern technology and clothing) suggest we haven’t gone back in time at all. Director Christian Petzold isn’t trying to confuse us: by blurring the backdrop, he’s making the terror and the desperation of the story more immediate — removing the distance that might have prevented us from really feeling what happens.
The uncanny historical echo effect works as intended, because the parallels Transit subtly draws between the past and today are horribly clear. What’s more, the movie’s intentionally ambiguous framing suffuses the plot with an otherworldly sense of mystery, a quality that gradually intensifies as Georg (Franz Rogowski) desperately searches for a one-way ticket out of hellish bureaucratic limbo before he finds himself waylaid by that most mysterious emotion of all: love. Unshakably haunting and undeniably poignant, this is a movie that will live under your skin.
Our staff rating: 8.8/10
Genre: Drama
Actor: Àlex Brendemühl, Antoine Oppenheim, Barbara Auer, Emilie de Preissac, Franz Rogowski, Godehard Giese, Grégoire Monsaingeon, Justus von Dohnányi, Lilien Batman, Louison Tresallet, Maryam Zaree, Matthias Brandt, Paula Beer, Ronald Kukulies, Sebastian Hülk, Trystan Putter
Director: Christian Petzold
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