Movie Suggestions by Country
This film really satisfied my craving for an original thriller, despite the fact that I spent most of it thinking about how Logan Marshall-Green looks like a budget Tom Hardy.
He plays a guy whose wife is killed during a violent mugging that also leaves him paralyzed in the aftermath. When a billionaire approaches him with an Artificial Intelligence solution that would "upgrade" his body, he has a chance to take vengeance.
This is Robocop meets Ex Machina meets Blade Runner. It's original, low-budget without feeling low-budget, and honestly just so thrilling. It gives the genre of sci-fi a much needed upgrade.
The 400 billion (!) dollar industry of medical devices is director Kirby Dick’s latest fascination (Oscar winner Twist of Faith, Oscar nominated The Invisible War). This is one of those documentaries that will raise your awareness about a topic from 0 to I-should-do-something, as the number of victims and the negative impacts these devices are having are astounding. Of course, just like with any other careless American industries, greed, money, and lobbying are the culprits. This is an important watch that will probably come in very handy when you or a close one needs a medical device.
Strictly Ballroom is an energetic, fun and hilarious movie. Baz Lurhman does an incredible job telling the story of a rebellious young dancer who just wants to dance his own steps in the face of conformity. When he finds an inexperienced yet determined dance partner it's the beginning of an unexpected love story like no other. This movie isn't like the usual rom-com, it has colour, vitality and passion. It's a Moulin Rouge but with even more character, and the work that put Lurhman on the map for everyone.
Tunisian director Kaouther Ben Hania’s new movie is about an arrogant European artist who tattoos a Syrian man's back, essentially turning the man's body into artwork.
The man, as a commodity, is able to travel the world freely to be in art galleries, something as a simple human with a Syrian passport he couldn’t do. Seems unlikely? It’s based on a true story.
But Ben Hania is not really interested in the political statement aspect of this unlikely stunt. Instead, she looks at what this would do to a human-being, to the man's self-esteem, his relationships, and the turns his life takes. It's a fascinating movie.
One of the sharpest horror films of the last decade, Julia Ducournau’s Raw follows in the footsteps of films like Carrie by translating coming of age anxieties into visceral full-throated terror. Justine is a beginner veterinary student leaving home for the first time. After a brutal hazing ceremony forces this young vegetarian to eat meat, she develops an insatiable hunger for flesh that begins to consume her.
Raw is as much an intense body-horror (not for the squeamish) as it is an astute psychological drama. Underneath its nightmarish sheen, Ducournau layers social commentary on sexuality, patriarchy, and deviance using the school’s sadistic initiations as metaphors for larger structures. All of this depth is paired with striking cinematography, crisp pacing, and an unforgettable performance from Garance Marillier as Justine.
A young bisexual woman attends a shiva, caught between her parents and their expectations, her ex, and her sugar daddy. Rachel Sennott’s Danielle is yet to find her path in life and everyone is determined to remind her of that. Taking place almost entirely in real-time, the film’s sharp wit is contrasted with constant anxiety, complemented by Ariel Marx’s horror-like score, full of discordant pizzicato that sounds like every last bit of sanity snapping.
It’s a sex-positive take on 20-something life, treating bisexuality as wholly unremarkable and passing no judgment on Danielle’s sugar daddy income. Its specificities about Jewish customs and traditions are non-exclusionary, while its social claustrophobia is achingly universal. It’s comforting in the way it portrays the social horrors we all face, the feeling that everyone but you has life figured out, and that – ultimately – those who matter will pull through, eventually. One of 2021’s best.
What starts as an unsettling drama quickly morphs into a searing psychological thriller. The film, based on a play of the same title, tells the story of Tom, a young man who while attending his boyfriend’s funeral, stays with the grieving family unaware of his relationship with their son. During his stay, Tom becomes subject to the violent whims of his boyfriend’s brother.
The intense psychosexual dynamic that develops becomes a piercing examination of homophobia, masculinity, and violence. Dolan’s expert direction keeps a level of intensity that grips and never let’s go until the gorgeous closing sequence. At times brutal and cruel, Tom at the Farm may be a tough watch, but its portrait of simmering regressive violence speaks vividly and directly to our current moment.
Like all great documentaries, Angry Inuk is about way more than its tagline. At first glance, it's about how anti-sealing activism has been harming Inuit communities since the 1980s, to the point of instituting the highest rates of hunger and suicide anywhere in the "developed" world. But beyond, it's about the complicity of the government of Canada. A crushed seal-based economy means that the Inuit have to agree to oil and uranium mining in the Arctic.
Angry Inuk is also about the corrupt behavior of animal rights organizations like Greenpeace: seals are actually not on the endangered animal list but NGOs focus on them because they make them money.
It's an infuriating but incredibly important documentary. One that is not about how Canada has a bad history, but about how Canada is harming the Inuit right now.
On their drive back from a Tinder date that was only average, a couple are pulled over by a racist police officer. Things escalate unexpectedly and the couple, one of whom is a lawyer aware of the corruptedness of the system, start a life on the run together. This thrilling set-up mixing social commentary and romance is a movie that's actually many movies in one. And almost as if to cut in-between the different tonalities, there are so many quiet and beautiful shots of the couple: silent, still or dancing - these moments are true cinematic magic.
Director Thomas Vinterberg (The Hunt) reunites with Mads Mikkelsen to tell the story of four teachers going through a mid-life crisis. They’re not sad, exactly—they have homes and jobs and are good friends with each other—but they’re not happy either. Unlike the ebullient youth they teach, they seem to have lost their lust for life, and it’s silently eating away at them, rendering them glassy-eyed and mechanic in their everyday lives.
Enter an experiment: what if, as one scholar suggests, humans were meant to fulfill a certain alcohol concentration in order to live as fully and present as possible? The teachers use themselves as the subjects and the tide slowly starts to turn to mixed effects. Are they actually getting better or worse?
With an always-satisfying performance by Mikkelsen and an instant classic of an ender, it’s no surprise Another Round took home the award for Best Foreign Film in the 2020 Academy Awards.
When Amin sits down for a tell-all interview about his troubling past, his memories come to life in vivid animation. Sometimes they are sweet and intimate, like when he recounts his time as a playful boy in a much freer Afghanistan. But often, they’re marred by the unbelievable horrors of refugee life. Now a successful academic and soon-to-be husband, Amin discovers the inescapability of his status and identity, the reality of which continues to threaten his safety to this day.
Relevant and vital, Flee sheds some much-needed light on an often-overlooked phenomenon. More than just displaying factoids and numbers, it relays the specific unease and constant vigilance that comes with fleeing one’s home. But as Amin’s story, it is also richly detailed and wonderfully personal; for all its harsh exposés, the film leaves enough room for Amin’s stirring realizations about love, identity, and sexuality.
Joachim and Ceilie are engaged to be married when a car crash leaves the former paralyzed. While Joachim recovers in the hospital, Ceilie becomes entangled with his doctor—who also happens to be the husband of the woman who caused Joachim’s accident. What transpires after is not unlike a car crash itself: gut-wrenching to watch, impossible to look away from.
Although the film’s premise toes the line of melodrama, Susanne Bier handles the characters with extraordinary care. Elsker dig for evigt (Open Hearts) boasts incredible performances from its core cast of four, with Mads Mikkelsen and Paprika Steen particularly shining. This is not an easy nor feel-good movie to sit through, but its unflinching gaze at complicated characters in a tragic situation makes for a rewarding journey.
This crazy adventure thriller was Colombia's nomination for the 2020 Oscars. "Monos" translates to monkeys, the nom de guerre of a group of teenagers holding an American hostage in an isolated bunker. Other than the occasional visit from their supervisor, they're left to their devices, forming relationships, smoking weed, drinking, and eating psychedelic mushrooms. One day, on top of the hostage, they're also trusted with a milk cow, named Shakira. A party goes wrong and one of the Monos accidentally kills Shakira, triggering a series of events that sends them deep into the jungle, and deep into despair.
Monos is not an action movie, it's more of a character study. It was loosely based on The Lord of the Flies.
It’s always fun to watch something that makes you second guess each move, that shifts seamlessly from one thing to another. Frantz is that kind of film, and as the deceptively simple premise unfolds—a widow befriends her late husband’s friend—you’re never really sure if what you’re watching is a romance, a mystery, or a sly combination of both.
It helps that Frantz is also more than just a period piece, packed as it is with tiny but thoughtful details. When it is filled with color, for example, it does so in the muted palette of 1900s portraits, making each shot look like a picture come to life. When it talks about love, it goes beyond heterosexual norms and hints at something more potent and, at times, political. And when it takes a swing at melodrama, its actors ground the moment with enough restraint and reserve so that it never teeters on excess. All this results in a well-executed, gripping, and overall lovely film to watch.
Persepolis is the true story of Marjane Satrapi, the writer and illustrator whose graphic novels of the same name the film is adapted from. It details in vivid animation the trials of growing up in war-torn Iran, but also, crucially, the joys of being raised by a loving family and the significance of forming one’s own ideals and identity. In between revolving dictatorships and tightening restrictions, Marjane comes into her own and discovers what it means to live a meaningful life.
It’s a testament to Satrapi’s many talents that Persepolis never feels too flat or cynical given its 2D style and bleak backdrop. The drawings impressively morph with Marjane’s every thought, as if the ink itself were alive, and her wit persistently comes through in sharp observations and dialogues. Equally impressive is the film’s commitment to portraying war and conflict in a nuanced manner. In an autobiographical tale that is about Marjane’s coming of age as much as it is about her country’s survival, it’s never been more true that the personal is political.
The Father is a compelling inner look at the ways dementia distorts memories. By occupying the unstable headspace of 80-year-old Anthony (Anthony Hopkins), the film allows us to experience his frustration and confusion firsthand. We, too, are unsure about the ever-shifting details we’re presented with. Conversations are circular and time seems inexistent. The faces we know are swapped with names we don’t know. Even the tiniest elements, such as the wall tiles and door handles, are constantly changing in the background. We grasp for the slippery truth with Anthony but always come up empty and unsure.
In a thoughtful move by director Florian Zeller, we also get a glimpse of the lives surrounding Anthony. The daughter Anne (Olivia Colman), in particular, is often the victim of her father’s tirades, but she takes care of him still, conflicted as to where to draw the line between his needs and hers.
With its fluid editing, subtle detail-swaps, and empathic portrayal of characters, The Father is just as technically impressive as it is movingly kind.
Krzysztof Kieślowski’s trilogy reflects both the colors and the values of the French republic: liberté, égalité, fraternité. In Trois couleurs : Blanc (Three Colors: White), Kieślowski explores not only the theme of equality, but also the ramifications of defining and “achieving” equality as a European ideal.
After failing to consummate their marriage, Dominique (the ever-bewitching Julie Delpy) divorces Karol (Zbigniew Zamachowski), leaving him broke and humiliated. Karol plots to exact revenge on his ex-wife, becoming richer and cruller in the process.
Although this is often regarded as the weakest of the trilogy, White is worth a watch not just for completionists. Kieślowski interrogates what it means to be equal in sex and socioeconomic class—and if when we strive to move upward in society, whether we are really debasing our basic humanity and humility.
This Oscar-nominated drama tells the story of the events leading up to the Srebrenica massacre, in which 8372 Bosnian Muslims were killed. It focuses on one U.N. worker who was caught between trying to protect her family, herself, and helping people in need.
The film is as horrific as it is relevant: up until the actual killing starts, people are constantly being assured that everything is under control and that there is no reason to panic. This gives an eerie feeling of resemblance to the tone many minorities in distress receive nowadays.
Still, Quo Vadis, Aida? stops at depicting any of the acts that were committed that day. Instead, it focuses on Aida’s unrelenting race against the clock to save whatever she can.
Two angels wander the streets of a monochrome Berlin, invisible to the colorful world that bustles around them. When one of them falls in love, he begins to question his place and yearns to give up immortality to join the ranks of the living. Wim Wender’s exceptional film is a poetic meditation on faith, cinema, and a mournful tour of a city in the grip of the Cold War.
Wings of Desire is bursting with poetry and heartbreaking humanism emphasized by the tender performances by Bruno Ganz, Otto Sander, and Peter Falk, while serving as a beautiful love letter to a city yearning for change. If you’ve only seen City of Angels, the loose American remake, then you owe it to yourself to experience the raw poetic power of the real deal.
This bittersweet film about a father and a daughter marks one of the more tender spots in Claire Denis’ brilliant filmography. Frequent collaborator Alex Descas plays Lionel (the father), while Mati Diop, now a director in her own right, plays Josephine (the daughter.) The film captures the two at a crossroads, with their closely-knit relationship tested as Josephine grows closer to her boyfriend, and Lionel must face the possibility of finally letting her go.
A melancholy lingers in the air as we learn more about their lives and the small community of neighbors and coworkers in their orbit. Meanwhile, the film's climax holds a mesmerizing sequence set to the Commodores’ Nightshift, which has to rank as one of the best needle drops in cinema from a director who already has an all-timer under her belt. (see. Beau Travail)
This 140-minute Brazilian drama is an epic and touching tale of two sisters torn apart. In 1950s Rio de Janeiro, Eurídice, 18, and Guida, 20, are inseparable, but their dreams soon take them away from each other, from their conservative family, and from Brazil.
After they are separated, each one of them believes the other is achieving her dreams when often the opposite was happening. Family betrayal, silence, and a suffocating social climate shatter the aspiration of the sisters but also highlight their strength.
IRA terrorists kidnap a British soldier to negotiate an exchange for one of their own imprisoned members. Among them is Fergus (Stephen Rea), whose ambivalence is amplified by his interactions with the hostage soldier Jody (Forest Whitaker) while guarding him. After the terrorists' plan goes awry, Fergus tracks down a woman Jody spoke of during his captivity, only to become confronted with even more complications.
The film, its cast and crew won a slew of awards and nominations in 1993, including the Academy award for Best Original Screenplay. It's a knockout. Each act presents an increasingly challenging psychological and emotional conflict for Fergus: conflicts that require him to question the choices he makes and his beliefs, even about himself. It’s a dark but deeply touching thriller that is ultimately unforgettable.
This emotional and moving story is about a mother of four who is forced into homelessness in Dublin. With her husband working in a demanding restaurant job, Rosie is left to take care of the children while trying to find anything resembling accommodation. She starts by seeking the help of the city council, but every facility she calls is full or refuses to welcome them.
As a viewer, the heartbreaking reality of the situation sinks in quickly: Rosie and her husband are priced out and there are too many people in their condition. Their car doesn't fit them. But to her children, relatives, and school officials, Rosie keeps up appearances and doesn't compromise on her overwhelming child care tasks.
The Young Offenders is a comedy about two Irish teenagers who go on a 160km bicycle trip to salvage 7 million euros worth of lost cocaine. As they sit on a hill overlooking their city, they imagine what they would do with that money. The answer is building a house that has lava lamps, “big gold walls”, Spanish girls, and an English butler to wake them up every morning with the phrase “what’s happenin’?”. You get the vibe. It’s is a silly movie, although the premise is actually based on a real-life event where cocaine from a capsized smuggling boat washed up on the Irish coast. The Young Offenders wears its heart on its sleeve. It’s a sweet funny movie, half slapstick and half plot, which sports an infinity of highly quotable one-liners.
I can’t get a song out of my head from this movie: the 1985 UK hit Desire As from Prefab Sprout.
It plays when the two main characters, a sensitive kid who’s bullied by his school for not liking rugby, and the school’s rugby star; talk over the “Berlin Wall” that separates their dorm room.
The song echoes “It's perfect as it stands, so why then crush it in your perfect hands?”. These two seemingly incompatible personalities form a friendship that comes under threat from their school’s traditional authority, especially as one of them is revealed to be gay.
It might seem like a tough premise, but Handsome Devil is actually a comedy. It’s a sweet and easy coming-of-age comedy.
The Hand of God is the autobiographical movie from Paolo Sarrantino, the director of the 2013 masterpiece The Great Beauty. He recently also directed The Young Pope with Jude Law and Youth Paul Dano, both in English. He is back to his home Italy with this one.
More precisely, he’s in his hometown Naples, in the 1980s, where awkward teenager Fabietto Schisa’s life is about to change: his city’s soccer team Napoli is buying the biggest footballer at the time, Diego Maradona.
Sarrantino, who is also from Naples, made this movie that is half a tribute to the city and half to what it meant growing up around the legend of Maradona.
The Hand of God is to Sarrantino what Roma was to Alfonso Cuarón, except it’s more vulgar, fun, and excessive. It is equally as personal though, and it goes from comedy to tragedy and back with unmatched ease.
Director Gianni Di Gregorio’s gorgeous debut is an understated masterpiece about a bachelor who is his mother's caregiver. The movie takes place almost entirely in Di Gregorio's family home in central Rome, a beautiful, big, and well-furnished apartment that his character can't afford any longer.
To catch a break from rent, he agrees to host the landlord’s mother while the landlord goes on holiday. The same for his and his mother’s medical bills, and the doctor shows up with yet another elderly woman.
Di Gregorio finds himself running an impromptu elderly home, with conflicts rising about who gets to watch TV and whose dietary restrictions should be respected. But his calm demeanor, love for cooking, and a lot of white wine make him the perfect man for the job.
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."
It's impossible to describe this incredible movie as one thing or the other. It's an epic three-hour saga that takes you through the Nazi era, the communist era, the rise of capitalism, and the East and West German divide. But more than its historic value, it's a coming-of-age story, one that is based on the experiences of famed German artist Gerhard Richter. It's also a romance, following his experiences finding love and being hit with loss (in no particular order). If you liked the director's other work, the Oscar-winning The Lives of Others, you're sure to love this too.
From Drive My Car director Ryusuke Hamaguchi comes another film featuring long drives, thoughtful talks, and unexpected twists. An anthology of three short stories, Wheel of Fortune and Fantasy ponders over ideas of love, fate, and the all-too-vexing question, “what if?”
What if you didn’t run away from the one you love? What if you didn’t give in to lust that fateful day? What if, right then and there, you decide to finally forgive?
Big questions, but without sacrificing depth, Hamaguchi does the incredible task of making every single second feel light and meaningful. Wheel of Fortune and Fantasy will leave you with mixed emotions: excited, startled, dejected, hopeful. But one thing you won’t feel is regret over watching this instant classic of a film.
In Drive My Car, a widowed artist travels to Hiroshima for his latest production. There he meets a young woman enlisted to drive him around the area. They forge an unexpected bond and soon share pithy observations and long-buried secrets, which culminate in a touching scene of catharsis and forgiveness.
Not a lot is said in this three-hour film, but when words (and signals) are shared, they are always underlaid with simple but transcendent truths. Drive My Car is a gripping film that explores love and loss in its own quiet way, at once intense and intimate.
Edward Yang’s masterful and lush Yi Yi follows the lives of the Jian family and their respective, middle-class worries. The father agonizes over a business deal and, at the back of his mind, an old flame. The mother struggles with emptiness, the daughter with sensuality, and the son with his burgeoning artistry. In the periphery are other family members trying to get by as best they can despite having no certain future to look forward to. The story, which is bookended with life and death, is punctuated with these lingering anxieties but also, crucially, with moments of potent, profound joys.
The premise seems simple, but Yang weaves a breathtaking epic out of the mundane. The mise-en-scene is immersive, the dialogue delicate, and the direction effectively real. The understated elegance of each piece coming together to build a rich whole is what makes YiYi Yang’s legacy to the world of cinema.
Hayao Miyazaki is no stranger to the fantastical. Howl’s Moving Castle and Spirited Away conjure worlds of spirits and demons, monsters and witches, imaginary wars and extraordinary heroes. But in Kiki’s Delivery Service, the real magic arises from the mundane.
The titular teenaged Kiki leaves home, setting out to become a better witch. She arrives in the idyllic seaside town of Koriko with only her broom and best friend, a black cat named Jiji. When she serendipitously meets Osono, the gentle owner of a bakery, Kiki begins a delivery service as part of her training.
Kiki’s Delivery Service may be one of Miyazaki’s more understated films, but it’s a beautiful reminder that believing in oneself is a magical act of courage that we should all undertake.
Krzysztof Kieślowski’s drama stars Irène Jacob as two identical women living separate lives, and the intricate and indelible ways in which they are bound together. While Weronika, a Polish singer, balances her familial duties and intimate romantic relationship, a French music teacher named Véronique senses that she is not alone.
The Double Life of Véronique’s hypnotic and entrancing qualities will wash over you like a tide crashing over a bed of sand. It is a tough film to capture in words, when so much of it is just beyond words—Kieślowski’s film is one to be seen, sensed, and experienced.
This masterpiece from Norwegian director Joachim Trier is a clear-eyed movie that takes place in one day in the life of a 34-year-old. Anders, a recovering drug addict, gets to leave his rehab facility for the first time to take a job interview. He visits friends, tries to meet his ex, and goes to the interview. With every interaction, you get to know him more and understand that what he's going through is shared with everyone he meets. At 34, Anders feels it is too late to turn his life around, and so do his friends. He just happens to be a drug addict.
This gorgeous Scandinavian movie is based on a true story and stars the ever-reliable Stellan Skarsgard.
He plays the governor of a strict youth correctional facility in Norway in 1915. The arrival of a feared kid kickstarts events that are very famous in Norway but little-known elsewhere: an uprising within the facility that will eventually require the army to get involved. A strong movie with stellar (Stellan) performances.
It’s 1994, and Seoul is facing massive, rapid changes. The unrest is reflected by a lot of its residents, including Eun-hee, a disaffected teen with a less-than-stellar home and school life. She manages to get by with the help of friends and lovers, that is until they change too, and Eun-hee is forced to grapple with the volatility of it all.
Sensitively told and genuinely captivating, House of Hummingbird is a stellar debut by writer-director Kim Bo-ra. Her command shines in how young actress Park Ji-hoo dynamically portrays Eun-hee, in how the story meanders but never loses footing, and in how each frame displays a quiet gorgeousness as the primary colors of her youth pop against the faded backdrop of urbanized Seoul. The delicate balance of all these elements is sure to evoke a sincere, profound feeling in every viewer.
This Park Chan-Wook classic is the third part of a trilogy of films around the theme of revenge, following Sympathy for Mr. Vengeance and Oldboy. While ultimately unique, Lady Vengeance is a thriller set in a prison, in the vein of films such as the Japanese action drama Female Prisoner #701: Scorpion. After being framed and wrongly convicted for murder, our protagonist seeks out the true perpetrator of the crime –– but more than anything else, she seeks vengeance.
This film’s run time is 115 minutes and every second is essential. There is often gratuitous violence perpetrated by men against women in film, however Lady Vengeance takes back control and for that reason it remains one of my favorite revenge films.
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.
A zombie virus breaks out and catches up with a father as he is taking his daughter from Seoul to Busan, South Korea’s second-largest city. Watch them trying to survive to reach their destination, a purported safe zone.
The acting is spot-on; the set pieces are particularly well choreographed. You’ll care about the characters. You’ll feel for the father as he struggles to keep his humanity in the bleakest of scenarios.
It’s a refreshingly thrilling disaster movie, a perfect specimen of the genre.
This movie is like thriller-candy. It is full of twists, it is very atmospheric, and in nicely predictable fashion it will deliver that excitement rush we (most of us) love. Accused of murder, a wealthy entrepreneur hires the best witness preparation expert he can find. They have three hours before the trial to come up with the most solid, plausible defence. But ?, a new witness surfaces. Don’t expect anything overly original, but expect to be entertained.
Georgian dance has cut-throat competition: the art form is dying even within Gerogia, and to make it, dancers compete to join the one duo that represents the country. The chance finally comes and the spot opens up, igniting the hopes of performers from around the country. Mervan is one of them, a young dancer from a poor background who takes food from his restaurant job to feed his family. His main competition is a newcomer, Irakli, who also comes from a difficult background and hopes to secure the spot to provide for his ill father.
When their lives hang on them competing against one another, Mervan and Irakli fall for each other.
And Then We Danced is full of incredible dance sequences that add to the beauty of the romance at its center; but it's also a heartbreaking exploration of unfulfilled ambition.
Shia Laboeuf and Stellan Skarsgård star in this true story about one of the greatest tennis matches in history: the 1980 Wimbledon final. The movie dissects what drives both competitors (one played by Laboeuf and the other by Sverrir Gudnason). Their personalities, considered opposites, are studied through their paths and how they got into tennis. All this leads to that one match, in this beautiful story of dealing with competition and fear of failure. Don’t stop watching when the credits roll, read what they say!
The Fabella Hospital in the Philippines is clearly overburdened and understaffed, and though it offers some of the lowest pregnancy delivery rates in the country, it remains unaffordable to most of its patients. It has been dubbed the world’s busiest maternity hospital because of this, and its boundless flurry of activity is what Ramona Diaz tries to capture in her cinéma-vérité film Motherland.
What’s interesting and ultimately heartening about the documentary is that despite the difficulties the subjects face, they are always presented with warmth and humanity. We don’t observe them from a strict or stylized distance, but rather, we move with them when they laugh, befriend each other, worry about their babies, curse their partners, and eventually leave. Indeed, the film is a land of mothers, filled with their authentic stories before anything else.
Mike Leigh’s forthright and compassionate depiction of working-class life extends to his period pieces as well. Imelda Staunton is remarkable as Vera Drake, a housekeeper in 1950’s London who quietly performs abortions on the side.
Leigh’s vigilant portrayal of class highlights the stark divide between abortion access for the poor and what is offered to the rich. The storytelling is simple and straightforward, he doesn’t over-sentimentalize or grandstand, but merely depicts conditions as they were. Meanwhile, Staunton’s Vera oozes so much fullness, warmth, and empathy, that the heartbreak that follows is mercilessly palpable.
Grounded by Lesley Manville and Timothy Spall’s powerhouse performances, this gut-wrenching family drama from Mike Leigh is an acting juggernaut. Penny and Phil are a working-class couple whose marriage is rapidly deteriorating and pushed to the brink when their son, played by a young James Corden, is hospitalized.
While Manville and Spall are centered as the leads, Leigh draws a staggering amount of depth from Corden as well as a young Sally Hawkins who plays a neighbor. Despite being one of Leigh’s grimmest films, there is still a profound sweetness lingering at the edges as the story teeters between despondency and hope.
Belfast stars Outlander’s Caitríona Balfe as the mother of a working-class Northern Irish family during The Troubles. Religious tension and the lack of opportunities put the family in a difficult position: they're the first in many generations to think about leaving the city of Belfast. They all have to navigate so many difficult questions on belonging, religion, and identity.
The story, based on the director’s own childhood, is packaged in a noise-canceling black and white format. Also stars Judi Dench.
Something is wrong with Carol White. She’s a well-off housewife living in the picturesque suburbs of Los Angeles. Her husband’s job is going well, her step-son is pleasant, and her social life consists of boutique lunches, fruit-filled diets, and lavishly pink baby showers—all is well on this side of the white picket fence.
Until Carol starts sneezing. Then she begins coughing, and she experiences a violent asthma attack while driving on the freeway. Afterward, Carol’s nose won’t stop bleeding. She starts having seizures. Struggling to breathe, Carol winds up in the hospital, seeing doctors and psychologists trying to diagnose what’s wrong and whether her mystery illness is physiological or psychological.
Todd Haynes’ Safe is an unnerving examination at our relationship with the environment—and in an increasingly modernized world, how much we can tolerate of what we create: white noise, toxins, busy work, everyday poisons, monotonous obligations. It’s also a complicated reflection on the ways in which women’s pain is disregarded and minimized, and what the loss of invisible agency looks like when it begins to manifest outward.
Mayor follows Musa Hadid, the mayor of the de-facto capital of Palestine, Ramallah, over two years as he tries to make his constituents’ lives better under occupation. With shootings, sieges, and a wide array of life-threatening situations taking place, his focus remains on cheesy Christmas decorations and funny city-branding attempts.
The director follows the mayor everywhere, including in his home and with his family, examining the toll of the unique job. Ramallah is portrayed like it were any other capital—except for the daily reminders that it’s very far from that.
A woman yearns to find her biological mother, another woman struggles with infertility, a third wants to connect with her rebellious daughter. Director Mike Leigh has the prowess to seamlessly weave these stories together, and part of the joy is knowing, that like clockwork, these narratives are set on a spectacular collision course.
As melancholy as it is optimistic and as funny as it is tragic, Secrets & Lies is a perfect example of Leigh’s oeuvre and earned him a Cannes’ Palme d’Or. The film features a full cast of his regulars with the fantastic addition of Marianne Jean Baptiste as Hortense - the woman who sets the wheels of the film in motion.
This insightful and uplifting documentary is about a growing movement within indigenous communities: obtaining food sovereignty by going back to pre-genocide ways of cultivating food.
The violent changes that have affected indigenous communities don’t impact just the people, but also the animals, the fish, and the land. All of these are now bearing the brunt of climate change.
Historically, North American governments forbid Native people from fishing and cultivating their foods as a way to repress them and create dependency. Gather is as much a recognition of the damage that was done as it is a forward-looking vision about how these communities are taking control of their faiths.
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).
The culture of propaganda and cover-ups that kicked off the pandemic is the subject of this compelling documentary by award-winning director Nanfu Wang (One Child Nation). Wang, who traveled with her family to China in January 2020, saw and filmed the pandemic firsthand, and wrote to major newspapers like The New York Times to convince them to write about it. They never did.
Media and government in both China and the U.S. played down the threat, and this documentary asks how different everything would have gone otherwise. More dauntingly, it's an examination of how the Communist Party in China managed to use the event to its advantage.
A marvelous combination of perfect casting and a sizzling script. William Hurt, Albert Brooks, and Holly Hunter are such natural talents they could make reading a dictionary watchable, but seeing them weave through James L Brooks punchy dialogue is a delight to behold. The three form the foundation of this drama that is as much about journalistic ambition as it is about love.
Hunter and Brooks are principled workaholics at a news station juggling a platonic friendship that seems destined for more but lacks a driving spark. Enter Hurt, a charming though self-admittedly stupid news anchor, who Hunter at once resents and yet can’t help falling for. What seems like a ready-built rom-com plot, however, churns into something else entirely. It’s a delicious film crackling with wit and character and is as funny as it is astute.
An old friend shows up on the doorstep of a happy family home and brings a whirlwind of trouble with him. Charles Burnett’s startling parable is tinged with magic and creeping danger. It digs into the tensions between African American folklore of the rural South and the assimilated middle-class lifestyle out West.
This rift takes the form of Harry, whose disquieting presence throws his old friend Gideon’s Los Angeles home into disarray. Danny Glover is captivating as the devilish visitor, delivering each line with playful ease and simmering menace. Burnett’s sly narrative doesn’t boil down to good and evil but instead offers a layered and enigmatic exploration of identity.
One of the most notable avant-garde filmmakers, Su Friedrich is both a tour-de-force of documentary filmmaking and queer cinema. In Sink or Swim, Friedrich explores the complicated dynamic between a distant, work-oriented father and young daughter longing for his attention, approval, and love.
At just barely 45 minutes, Sink or Swim is cinematic poetry. The movie slowly unfolds across six vulnerable vignettes, through which Friedrich invites the viewer to meditate on the past alongside her. Through photographs, archival footage, and loose narrative storytelling, Freidrich shows that storytelling is a way of both healing the past and learning to live with its ghostly figures.