While not for everyone, Brazilian import BACURAU is a wild ride of violence, dark humor, and some very pointed political commentary focused on residents of a Brazilian settlement standing together to defend their existence.
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Nominated for Best International Feature Film at this year’s Oscars, Ladj Ly’s Les misérables steps far away from the classic musical, and showcases a gritty, of-the-moment representation of tensions in a modernized France.
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South Korean filmmaker Bong Joon-ho has made his signature film. Parasite is a blistering, shocking, and unsettling look at class, capitalism, and human decency that transcends all languages and locations.
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A career-topping performance from Antonio Banderas makes Pedro Almodóvar’s 8th collaboration with the actor, Pain and Glory, one of his most personal and telling films to date.
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After years of buzz, and the championing of numerous writers and directors clamoring for its release, Issa López’s fantastic fairy tale/suspense/horror hybrid, Tigers Are Not Afraid, is powerful, emotional, and one of the best films of 2019.
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An insightful, curious road-trip through modern-day Iran serves as a backdrop for Jafar Panahi’s latest act of cinematic defiance.
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Belgium’s stop-motion animation drama This Magnificent Cake! tells five short stories with Belgium’s occupation of the Congo in the 19th century as a backdrop. And it is unlike any movie I have ever seen.
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Polish import Cold War tells a visually beautiful, if not somewhat emotionally distant story, of a 15-year off-and-on again romance between a young singer and music director in 1950s Europe.
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Alfonso Cuaron has made a deeply personal and stunning film with ROMA, exploring memories from childhood and analyzing how those memories guide us through adulthood.
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The night’s final call leaves an emergency dispatcher doing everything he can to save a family in crisis in Denmark’s fantastic import, The Guilty.
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A heavy metal comedy from Finland, Heavy Trip is a lot of fun and celebrates the artistic voice which exists in all of us.
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French/Belgium horror film Let the Corpses Tan is stylish and well-crafted, but hard to follow and convoluted.
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United Kingdom import I Am Not A Witch tells a poetic story of a young Zambian girl, wrongly accused of witchcraft, who adjusts to life in a “witch camp.”
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Jim McKay’s En El Séptimo Día (On the Seventh Day) is a terrific look at a different kind of immigrant story, as a bicycle deliveryman weighs a number of decisions in one life-changing week in the Sunset Park neighborhood of Brooklyn.
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Lucrecia Martel’s Zama is an Argentinian import that tells us the strange and clever story of a magistrate, mentally unraveling in 18th century Paraguay.
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Slow, calculating drama Western finds Germans and Bulgarians becoming increasingly tense and volatile during the building of a hydroelectric power plant on the border between Bulgaria and Greece.
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With his first new film in more than five years, Michael Haneke's Happy End is a quasi-sequel to the 2012 Oscar-winning Amour, which finds depression and deception consuming a family's day-to-day existence.
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Oscar nominated A Fantastic Woman (Best Foreign Language Film) tells a memorable story of a transgender woman finding strength after being spurned by the family of her recently deceased boyfriend.
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Senegal's entry for the 2017 Best Foreign Language Film Oscar race is a uniquely crafted, music-laden drama about a mother desperately attempting to find money to pay for her teenage son's surgery.
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From Norway, The King's Choice gives a new perspective and shares an important new story from the era of World War II.
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