Five international films to be released now


In the age of streaming, the earth is flat – the size of a screen – and trips to faraway destinations only require a monthly subscription and a click. We’ve scoured the world of options and picked the best new international movies to watch.

Stream it on HBO Max.

This Argentinian fantasy thriller changes shape so skillfully over the course of its 94 minutes of execution that to sum it up, it’s like trying to identify an eel. At the start of the film, we are immersed in BDSM scenes to realize that we are in the recording studio where Inés (Erica Rivas), the singer and voice actor at the center of “The Intruder”, dubs for trash- strangers. language films. In the more 20 minutes that pass before the title card appears, there’s also a drug-induced reverie on a plane and a romantic tiff that leads to a mysterious death – with quite a few grinning laughs. along the way.

Director Natalia Meta maintains this delicate tightrope walker throughout the film as Inés, traumatized by the sudden loss of her lover, is soon plagued by strange visions and sound intrusions (brought to a strange sound life by the sound designer Guido Berenblum) who disturb her. choir training and recording sessions. Another film could have turned Inés into a midlife crisis and her discomfort into solemn vehicles for allegory. Meta resists this temptation, instead deploying a twisted and wacky genre fable that indulges in the sensuality of Inés’ supernatural encounters – especially with the sexy and mysterious organ tuner played by Nahuel Pérez Biscayart, who creeps around of the film as a specter – than in any symbolism.

Stream it on Mubi.

A superbly inventive screening of the unhealed wounds and fascist ghosts of the Spanish Civil War, Eloy Enciso’s feature film unfolds as a series of abstract and talking vignettes adapted from letters, diaries and plays. from the time of General Francisco Franco. A sparse and winding thread connects these segments: Anxo, a former fighter in the Republican army, returns to his hometown in Galicia and encounters various scenes either as an interlocutor or as a peripheral observer. Some scenes are whimsical, like a conversation between two beggars about their place in the world, and others heartbreaking, like when, in a fixed and prolonged shot, a woman recounts memories of imprisonment and torture.

Non-professional actors deliver these exchanges, both fictional and real, vehemently, against a breathtaking Galician countryside, thick with mist and intrigue, so that the horrors of war feel suspended in time and space – detached from their sources, like unsolved ghosts. Enciso simmers these repressed stories in the final segment of the film, where Anxo wanders through a dark wood, whispered voices from the past swirling around him, threatening to erupt into a precarious present.

Stream it on Netflix.

Part of a newly added collection of films on Netflix titled “Palestinian Stories,” Lina Al Abed’s autobiographical documentary explores a family tragedy that is both personal and historical: the sudden disappearance of her father, Ibrahim, in 1987, when Al Abed was only 7 years old. years old and lived in exile with his family in Syria. Ibrahim was a member of the Abu Nidal Organization, a Palestinian liberation group. At one point, he mysteriously disappeared, and the clue that sends Al Abed on his investigative journey is little more than a footnote: a comment in an investigative book by Patrick Seale that maintains that Ibrahim was suspected of being a CIA and Mossad spy and killed. .

By questioning his mother, siblings and relatives, who live all over the world, Al Abed confronts questions about filial responsibility, political will and martyrdom. What could force a father to abandon his family? What makes people fight, or even die, for their country? At the heart of “Ibrahim: A Fate to Define” is Al Abed’s struggle to reconcile his own sense of being uprooted with his father’s eternal commitment. His journey is less about locating Ibrahim’s fate than about tracing the threads that connect them both and, in turn, generations of scattered Palestinians.

Stream it on Hulu.

This South African thriller is as schlocky as eco-horror, with shots of upside down drones of a verdant forest; travelers venturing off the beaten path of the jungle by willfully denying the obvious danger; and nebulous elemental villains which mean, loosely, nature’s revenge against man. Yet there is something eminently watchable about the thicket of clichés that make up Jaco Bouwer’s “Gaia”.

Like “Annihilation”, “Gaia” understands that the porosity of the boundaries between the human body and its environment is as beautiful as it is terrifying. Freely following Gabi, a ranger, as she is injured and then taken in by a land-worshiping father-son duo of survivors deep in Tsitsikamma National Park, the film is essentially a procession of images of terror. seductive somatic. Fungi germinate through the skin; an overgrown corpse looks like a bright bouquet sprinkled with ashes; the yonic inside a tree trunk is yawning, giving off a blood-red halo. Even when the paintings turn into insignificance – at one point, a character hits the roots of a tree – the imaginative, CGI-enhanced cinematography and haunting sound design evokes a powerful reverence for Mother Earth that draws you in as in. a ritual.

Stream it on Mubi.

This tender Korean drama animates a familiar premise – a woman going through a midlife crisis after traumatic loss – with an eerie, idiosyncratic fantasy. Directed by Kim Cho-hee, who produced films for Korean author Hong Sang-soo, “Lucky Chan-sil” opens with an alcohol-soaked scene straight out of Hong’s films before taking a turn tragicomic: As a film crew goes on an evening of drinking and bantering, the director has a sudden heart attack and collapses.

Her longtime producer Chan-sil sees her life fall apart in the wake of this tragedy as she struggles to find a job (it doesn’t help that she’s never worked with just one director) and envisions a life without his singular obsession: the cinema. Both real and imaginary characters offer wisdom, respite and comedy: there’s Chan-sil’s curmudgeonly landlady, played by Yuh-Jung Youn of “Minari” fame, who faces her own grief; a handsome young filmmaker whose bad taste for films leaves Chan-sil torn; and the ghost of Leslie Cheung, the legendary Hong Kong singer and actor, who apparition from time to time in his underwear to give Chan-sil advice on love and life. A beautifully simple and endearing film about the powers of cinema and the fantasies that hold us back and propel us forward, “Lucky Chan-sil” shines with the charm of its lead actress, Kang Mal-Geum.


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