Chasing the feel of watching Interstellar ? Here are the movies we recommend you watch right after.
"Interstellar," directed by Christopher Nolan, is a mesmerizing cinematic experience that seamlessly weaves together awe-inspiring visuals, intricate science fiction, and heartfelt storytelling. Set against a backdrop of Earth's environmental collapse, the film follows Cooper (Matthew McConaughey) and his team of scientists and astronauts as they embark on a perilous journey through a wormhole in search of a new habitable planet. Nolan's commitment to practical effects and meticulous attention to detail is evident in the film's stunning visuals, which bring the vastness and beauty of space to life. Hans Zimmer's hauntingly emotive score adds depth and intensity to the narrative, enhancing the overall cinematic experience. "Interstellar" challenges its audience with complex scientific concepts, yet it treats them with respect, avoiding oversimplification. This intellectual depth adds layers to the story, making it particularly rewarding for viewers who appreciate a more thought-provoking approach to science fiction. The performances, especially McConaughey's portrayal of Cooper, are outstanding, grounding the film's emotional core in the midst of its cosmic spectacle. While the film's deliberate pacing may test some viewers' patience, those who embrace its intellectual challenges will be rewarded with a profound and unforgettable journey through space and time. "Interstellar" stands as a visionary work of science fiction, exploring themes of love, sacrifice, and the human spirit's indomitable will to survive in the face of the unknown.
Genre: Drama, Family, Romance
Actor: Bonnie Sturdivant, Jacob Lofland, Joe Don Baker, Kristy Barrington, Matthew McConaughey, Michael Abbott Jr., Michael Shannon, Paul Sparks, Ray McKinnon, Reese Witherspoon, Sam Shepard, Sarah Paulson, Stuart Greer, Tye Sheridan
Director: Jeff Nichols
This tender, autobiographical coming-of-age story about a working class family in post-war Liverpool is Terence Davies’ masterpiece—evoking memories through a series of loosely connected scenes that highlight the joys and woes of growing up. It is comprised of two films shot two years apart. The first details the tribulations of a young family surviving an abusive father in the ‘40s. The second part follows the kids grown up and finding their way in the ‘50s, and the influence of music and cinema on their lives. Davies uses a series of beautifully composed tableaux to tell the tale, which bring the setting and the characters intimately to life. Distant Voices, Still Lives is regarded as one of the greatest British films of all-time.
Genre: Drama, Music
Actor: Alan Bird, Andrew Schofield, Angela Walsh, Anne Dyson, Bill Moores, Carl Chase, Dean Williams, Freda Dowie, Ina Clough, Jean Boht, John Michie, Lorraine Ashbourne, Matthew Long, Michael Starke, Nathan Walsh, Pauline Quirke, Pete Postlethwaite, Roy Ford, Sally Davies, Susan Flanagan
Director: Terence Davies
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.
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
The last work by legendary American director John Huston is this exquisitely rendered adaptation of a James Joyce short story. The Dead is nestled inside an intimate festive dinner shared by the family and close friends of the Morkan sisters, two well-to-do elderly spinsters living in Dublin in 1904. The film is a family affair in more ways than just that, too: for Huston’s final feature, son Tony wrote the script and daughter Anjelica (as Gretta) was its star.
As with so many end-of-year gatherings, the prevailing mood of the dinner is one of sentimental nostalgia, as the hosts and their guests swap memories, toast each other, and tearily reminisce about the way things were. Anjelica Huston’s performance is also a quiet architect of that atmosphere, as Gretta slips in and out of dreamy reveries throughout the evening to the puzzlement of her husband Gabriel (Donal McCann) — something that surges to the fore in an astonishingly moving final revelation. Huston directed the film on his proverbial deathbed, which infuses it with significance — but, even if it wasn’t the capstone to his illustrious career, The Dead would still stand as one of the finest treatments of mortality and longing ever committed to the screen.
Genre: Drama
Actor: Anjelica Huston, Bairbre Dowling, Brendan Dillon, Cathleen Delany, Colm Meaney, Dan O'Herlihy, Donal Donnelly, Donal McCann, Helena Carroll, Ingrid Craigie, Kate O'Toole, Maria McDermottroe, Marie Kean, Paul Grant, Rachael Dowling, Sean McClory
Director: John Huston
Genre: Comedy, Drama, Fantasy, Sci-Fi & Fantasy, Science Fiction
Actor: Gota Ishida, Haruki Nakagawa, Kazunari Tosa, Manami Honjo, Masashi Suwa, Munenori Nagano, Riko Fujitani, Saori, Shiori Kubo, Takashi Sumita, Yoshifumi Sakai, Yoshimasa Kondô, Yuki Torigoe
Director: Junta Yamaguchi
Clocking in at just over four hours and shot in vivid color, Norte, the End of History stands not only as Filipino auteur Lav Diaz's best work since his earliest films, but as the easiest entry point into his unique filmography. Told on a sweeping yet intimate scale, the film has all the trademarks of Diaz's work: slow, lengthy shots; bursts of dense dialogue and philosophizing; and copious amounts of human despair and systemic corruption. As our three protagonists' souls (who rarely share the screen, if at all) are pushed to the limit after a terrible crime is committed, everything heads toward universal truths—the perseverance of love, and the inevitability of divine justice.
It can be difficult to recommend any film of this length and deliberate pace, but Norte remains a masterful example of how to use time itself to build a monumental story.
Genre: Crime, Drama
Actor: Angeli Bayani, Archie Alemania, Barbie Capacio, Hazel Orencio, Ian Lomongo, Kristine Kintana, Mae Paner, Mailes Kanapi, Moira Lang, Noel Sto. Domingo, Perry Dizon, Sheenly Gener, Sid Lucero, Soliman Cruz
Director: Lav Diaz
Director Jim Jarmusch audaciously combined the DNA of French noir classics with that of samurai and mafia movies to produce this utterly original film. As advised by the ancient Japanese manual it often quotes, though, Jarmusch’s movie also “makes the best” out of its own generation by adding hip-hop into its wry genre blend. The results are more than the sum of their parts, especially because the film is so eccentric: no matter how au fait with its inspirations you are, you still won’t see “Forest Whitaker plays a lonely hitman who wields and whooshes his silencer pistol like a samurai sword, lovingly tends pigeons, and can’t even speak the same language as his best friend” coming.
Ghost Dog’s strangeness is never jarring, though, thanks to Whitaker’s cool, collected performance, an atmospheric score by Wu-Tang Clan's RZA, and the cinematography’s tendency to use smooth double exposures for scene transitions. It almost feels like we’re in another world: Jarmusch zooms in on the Bushido code obsessions of Whitaker’s single-minded character and the mafiosos’ dying laws, blurring out everything else so the movie becomes a meditation on the impulse to moralize one’s misdoings by subscribing to rigid definitions of “honor.” Not an exercise in surface style, then, but a bone-deep reflective masterpiece.
Genre: Crime, Drama
Actor: Alfred Nittoli, Angel Caban, Camille Winbush, Chuck Jeffreys, Clebert Ford, Cliff Gorman, Damon Whitaker, Forest Whitaker, Frank Adonis, Frank Minucci, Gano Grills, Gary Farmer, Gene Ruffini, Harry Shearer, Henry Silva, Isaach De Bankolé, Jamie Hector, Jerry Todisco, John Tormey, Jonathan Teague Cook, José Rabelo, Joseph Rigano, Paul Diomede, Renee Bluestone, Richard Portnow, Roberto Lopez, RZA, Scott Bryce, Sharon Angela, Tony Rigo, Tracy Howe, Tricia Vessey, Victor Argo, Vince Viverito, Vinny Vella
Director: Jim Jarmusch
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.
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
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.
Genre: Documentary
Actor: Aaju Peter, Alethea Arnaquq-Baril
Director: Alethea Arnaquq-Baril
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.
Genre: Drama, History
Actor: Chan Chung-Yung, Grace Chen Shu-Fang, Hsin Shu-Fen, Jack Kao, Kelly Ko, King Shih-Chieh, Li Tian-Lu, Mei Fang, Tai Bo, Tony Leung Chiu-Wai, Tsai Chen-Nan, Wu Nien-Jen, 吴念真
Director: Hou Hsiao-hsien
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.
Genre: Drama
Actor: Fereshteh Sadr Orafaee
Director: Jafar Panahi
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.
Genre: Documentary
Actor: Aliénor de Nervaux, Damien Fourmeau, Gérard Jacq, Marcel Cierniak, Marie-Laurence Fay
Director: Alexandra Pianelli
One of Shakespeare’s most indelible works is brought roaring to life in this explosive adaptation. The action is transposed from the 1400s to brutalist 1930s England, with the bloody civil war between the houses of Lancaster and York being waged by tanks and planes instead of cavalry. The switch isn’t merely cosmetic, though: in an inspired move, usurper Richard is reimagined here as the fascist head of an army of Nazi-esque Blackshirts (an analog of real militant far-right leader Oswald Mosley). Ian McKellen, who also co-wrote the screenplay, gives an odious but brilliant performance as the titular Machiavellian schemer who will stop at nothing to seize the crown, even betraying his own blood.
McKellen is joined by a gluttony of acting talent: Maggie Smith plays the King's despairing mother, Annette Bening and Robert Downey Jr. are the unfortunate American queen and her brother, while the likes of Jim Broadbent, Bill Paterson, Kristin Scott Thomas, and Jim Carter fill up the royal court. All the richness of Shakespeare’s original writing is retained, charging the performances and the film around them with a grand sense of drama. Peter Biziou’s ostentatious cinematography is a perfect frame for it all, and helps cement this as much, much more than a piece of filmed theater.
Genre: Drama, War
Actor: Adrian Dunbar, Andy Rashleigh, Annette Bening, Bill Paterson, Christopher Bowen, Denis Lill, Derek Lyons, Dominic West, Donald Sumpter, Edward Hardwicke, Edward Jewesbury, Ian McKellen, James Dreyfus, Jim Broadbent, Jim Carter, John Wood, Kate Steavenson-Payne, Kristin Scott Thomas, Maggie Smith, Marco Williamson, Michael Elphick, Nigel Hawthorne, Robert Downey Jr., Roger Hammond, Tim McInnerny, Tres Hanley
Director: Richard Loncraine
Awkward. That is how Oliver Tate can be described, and generally the whole movie. But it is professionally and scrutinizingly awkward. Submarine is a realistic teen comedy, one that makes sense and in which not everyone looks gorgeous and pretends to have a tough time. It is hilarious and sad, dark and touching. It is awesome and it's embarrassing, and it's the kind of movie that gets nearly everything about being a teen right, no matter where you grew up.
Genre: Comedy, Drama, Romance
Actor: Adrienne O'Sullivan, Ben Stiller, Claire Cage, Craig Roberts, Darren Evans, Elinor Crawley, Gemma Chan, Lydia Fox, Lynn Hunter, Melanie Walters, Noah Taylor, Paddy Considine, Sally Hawkins, Sarah Pasquali, Sion Tudor Owen, Steffan Rhodri, Yasmin Paige
Director: Richard Ayoade
Martin Bell documents the lives of youth living in the streets of Seattle in the early eighties with profound empathy. It's a type of filmmaking that doesn’t judge or condescend, but seeks to capture the humanity of its subjects. The result is a film bursting with life and laughter, and although tragedy lurks around every corner it isn’t over-sentimentalized or exploited, taking a backseat to the compassionate depiction of everyday moments.
The audience is left to its own devices to pull together the extent to which these youth have been failed by a broken safety-net and the expired promise of an American dream. These ideas rise to the surface naturally and serve as a testament to the power of the documentary form when it’s loosened from the grip of mawkish narrators and sugary moralizing.
Genre: Documentary
Actor: Dewayne Pomeroy, Lulu Couch, Roberta Joseph Hayes
Director: Martin Bell