108 Best Heart-warming Movies to Watch

Staff & contributors

Find the best heart-warming movies to watch, from our mood category. Like everything on agoodmovietowatch, these heart-warming movies are highly-rated by both viewers and critics.

Directed by Taika Waititi, who also gave us Boy (2010) and co-produced What We Do in the Shadows (2014), Hunt for the Wilderpeople is the quirky and magical buddy movie you want if you’re in need of an antidote to a bad day or a steady diet of sad movies.

It tells the off-kilter adventure story of misfit, rap-loving city kid Ricky Baker and his crusty and cantankerous foster parent ‘Uncle’ Hec, played by Sam Neill. ‘Very bad egg’ Ricky has been bounced out of more foster families than he cares to remember and is given one last chance of living with a couple out on a farm in rural New Zealand. After tragedy strikes early in the film, the unlikely pair gets lost in the wilderness and becomes subject to a nationwide manhunt.

Full of dead-pan humor and warm-hearted mockery, this audience favorite fuses visual gags delivered by a charming cast with sweeping shots of spectacular scenery!

The film opens with Julie in her early twenties, longing to pursue a career in medical school. But after briefly testing the waters, she switches over to psychology, only to drop completely out of school and transform her hobby of photography into a professional career. This indecisiveness carries over in most aspects of her life, including and especially in romance, where impulse and desire drive her to run after what she believes to be love. The movie follows Julie as she navigates adulthood in modern Oslo—at once a specific yet universally relatable story about the growing pains of growing up.

With The Worst Person in the World, Joachim Trier scores again with another life-changing Norwegian drama about longing, love, grief, and finding your place in the world. His films can be quite sad but amidst all the drama, moments of happiness and hope are scattered throughout, as it is in real life.

Written and directed by Academy-Award-winning Kenneth Lonergan (Manchester by the Sea, Gangs of New York), you can certainly count on the qualities of this subtle, beautiful, and moving drama about two siblings growing apart and reuniting later in life.

An Academy-Award-nominated Laura Linney plays Sammy, a single mother in a small town who is extremely protective of her 8-year-old son. When her younger and somewhat troubled brother Terry (played by the ever-reliable Mark Ruffalo) visits her out of the blue, Sammy has to deal with a slew of contradicting emotions towards her brother, whose appearance threatens to upend her life as she knew it.

Straight, thoughtful, and beautifully crafted, You Can Count on Me is an honest and genuine exploration of unconditional love in celluloid form. Think of it as much more hopeful The Skeleton Twins.

The title of this 2018 Palme D'or winner is not to be taken metaphorically: Shoplifters is about a marginalized family of day workers, crooks, and small-time outlaws, who live on the fringes of Japanese society. Osamu (Lily Franky) and Nobuyo (Sakura Andô) both have jobs but spruce up their low-wage income by committing petty crimes. One day in winter, Osamu takes in a bruised girl he finds outside in the cold and introduces her to the family in his ramshackle house. But when the second-youngest member of the family, Shota (Kairi Jyo), finds himself teaching her how to shoplift, he faces a moral dilemma that threatens to unravel the family's fabric. If you were hitherto unfamiliar with the unique storytelling and social realism of Hirokazu Koreeda, we really recommend checking it out—as well as his other movies, namely, Still Walking, Like Father, Like Son, I Wish, and After the Storm. His 2018 outing features the last ever performance of Kirin Kiki, who plays the elderly matriarch and passed away that same year. Like many of Koreeda's works, Shoplifters is an understated, beautiful, and mysterious study of the effects of poverty and trauma and a delicate portrait of a family in Japan's urban underbelly.

There are many movies by the much-celebrated Japanese auteur director Hirokazu Koreeda on A Good Movie to Watch. Why? Because, like all the movies we showcase here, his work is often little-known, but unbelievably good. After the Storm is no different. Much like his other works, notably Like Father, Like Son, Shoplifters, and Nobody Knows, it deals with the topic of family dynamics, regret, and disappointment. But his movies are never dramatic downers but delicate dioramas, understated in tone. Once a successful writer, Ryota (Hiroshi Abe) is now a private detective who spends the little money he makes on gambling instead of paying child support. His ex-wife and son are increasingly alienated by his behavior until one day, during a storm, they all find themselves trapped in Ryota's childhood home. Subtly touching on notions of inter-generational bond and tension –⁠ Koreeda's works are mesmerizing and stick with you long after you've finished watching.

Proving that children's entertainment can be legitimate art like any other kind of cinema, the sequel to 2014's Paddington displays a stronger love for community and storytelling than many other adult-oriented productions. It may be cutesy and innocent, but Paddington 2 also uses its stunning visual effects and intricate production design to prop up a sophisticated story about discrimination, staying true to one's self, and (most surprisingly) the prison-industrial complex. It's a proper throwback to another era of family movies that offers something far more substantial to young children and genuinely moving moments for the parents and children at heart.

You know you're in for a treat when you see Julia Louis-Dreyfus and James Gandolfini heading the cast of a sweet and slightly goofy comedy. Steadily going beyond his persona in The Sopranos, you see James Gandolfini playing a role that his fans have probably always imagined him playing: a nice, funny guy with an endearing personality. Directed by Nicole Holofcener, Enough Said almost has a sit-com feel to it: a divorced single parent and masseuse, Eva (Louis-Dreyfus), is looked up by a guy, she briefly met at a party, Albert (Gandolfini). Upon finding out they have much in common, the two start dating. At the same time, she meets Marianne (Catherine Keener), who she becomes friends with and who cannot stop talking ill of her apparently awful ex-husband. You guessed it: it's her new, promising date, Albert. Things get muddy and very funny as she starts to doubt, whether she has made a big mistake. Hilarious, romantic, and smart, it's very much like we expected: a real treat.

In Aftersun, Sophie recalls a holiday she took as an eleven-year-old in the ‘90s with her father. Video recordings help jog her memory, but she’s looking for more than just a blast from the past. Rather, she seems to be seeking answers to fill in the gaps between who she knew as her father and who he really was: an immensely nice but deeply troubled man.

At first, Aftersun looks like a simple but beautiful story about father and daughter bonding over the course of a summer trip. But within minutes, it’s clear that there are layers to Aftersun, emotionally and editorially, that aren’t always explained but nonetheless enrich the movie with profound meaning. Stirring, complex, and surprisingly inventive, it’s not surprising that Aftersun is one of the most beloved films of the past year. 

Based on Fredrick Backman's 2012 best-selling book of the same name, this Swedish hit comedy-drama introduces us to Ove, an elderly man who feels like his life is over. After losing his wife, the short-fused retiree spends his days grumpily enforcing block association rules in his neighborhood. He is your typical unhappy, old neighbor, somebody you would try to avoid. One new family does not give up and befriends Ove, played by an impeccable Rolf Lassgård, despite his best intentions to put them off. As the plot unfolds, however, you learn more about the story behind the man, and, in classic walk-a-mile-in-his-shoes fashion, start to find him rather loveable. After all, nobody is born grumpy and cynical. Naturally, this is a sweet and sentimental film. But an amazing lead performance and a charming, darkly funny script rescue it from drifting too far off the shore. The result is a wholesome, fun, and thoughtful dramedy with a beautiful message.

"Sometimes even the wrong train takes you to the right destination". In this thoughtful feature film debut by Ritesh Batra, we follow a lonely Indian housewife, Ila (Nimrat Kaur), as she tries to come to terms with a cheating husband, a stale relationship, and a dying father, while seeking love, attention, and appreciation through her cooking. One day, she sends out a special lunch to her husband, but her delivery goes to the wrong address. Spicy food is complemented with a spicy note and thus begins an unlikely and unique romance through the letters she packs in the lunchbox day after day. The man on the receiving end is Saajan, a middle-aged office worker, played by Bollywood star Irrfan Khan. With its delightful characters and beautiful acting, this was a huge success in India, but there is no reason to believe that this bittersweet, Mumbai-based story couldn't be a hit anywhere in the world.

Still Walking, Shoplifters, Broker), who generously allows up-and-coming directors to take the helm on certain episodes, The Makanai feels at once light and hefty, comforting and challenging. We're seeing mundane events unfold before us as if we were bystanders, but we also understand that there is so much more happening than what meets the eye. A prolonged gaze, a lovingly prepped meal, an especially sharp wing-eye, all of these have much to say about the state of mind of these girls. 

It’s a supremely gentle and culturally rich show with a tender heart; a truly great watch on all accounts.

An inspired by true events tale about an elderly Irish woman trying to find the child she was forced to give up many years earlier. Steve Coogan co-wrote the script and, though the base story is a tragic one, his special brand of very subtle, wry wit is apparent in the dialogue throughout. Judi Dench plays the mother who had kept her “sinful” past a secret for fifty years and, being Judi Dench, I don’t need to bother going on about her exemplary talent, suffice to say she’s charming beyond measure in the role. Steven Frears directs, as usual, deftly, and keeps the story compelling scene after scene, intensifying the emotions inherent to each, whether they be heart-warming, comedic, or outright enraging. Whoever decided to let Steve Coogan have his way with the script, it was a brave and wise choice and together this cast and crew have produced a wonderful and important piece of cinema.

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.

After Love is a beautifully powerful and quietly moving outing by emerging British filmmaker Aleem Khan. It follows Mary (Joanna Scanlan), a white Muslim convert who discovers a life-changing secret her husband has managed to keep from her all these years.

Without spoiling anything, I will say that After Love is charged with the sort of deep-seated emotion we sometimes don’t know how to express. It’s also a powerful reminder that there’s no one way to love or grieve or celebrate the people around us; sometimes, there’s just feeling. And Scanlan does a wonderful job of restraining then conveying all of that in devastating and commanding moments throughout the film, a feat that earned her the much-deserved best actress award at the 2021 BAFTAs.