When we at ABOUT MOVIES with Cory and Isaac drafted our initial best-of-the-decade lists, each of us discovered America-centrism in our film viewing habits. As a result, we decided to focus on domestic films in that feature. To try and partially make up for our ignorance, Cory and I collectively picked our ten favorite films from ten countries outside the USA — one each year from 2010 through 2019. Neither of us is anywhere near well-versed enough in international film to call this list definitive, but we’ve watched enough to pick a bunch of great movies that totally deserve your attention.

Viewing films from foreign countries is a valuable portal into other cultures and ways of thinking — and the good news is, if you’re reading this as a non-US citizen, you get double the opportunity to broaden your horizons, because we featured twenty films on our best-of-the-decade list. But if you’re a lousy American like us, read on, take our recommendations, and give us yours. God knows we’ve got plenty of watching to do.

Uncle Boonmee Who Can Recall His Past Lives (2010) • Directed by Apichatpong Weerasethakul Thailand

Uncle Boonmee Who Can Recall His Past Lives leaves its mark on history as the first Thai film to win the Palme d’Or. This could easily be taken as trite novelty trivia, but the writer/director’s origin has more significance to this film than one might expect. The film is beautiful, personal, unique, and inexplicable, leveraging two hours of varying styles and moods to capture its deep themes and references. Centered on the religion and culture of a small northeastern Thai village, this existential and spiritual journey is one of few films that genuinely defies description, and must be experienced by anyone who enjoys truly original cinema.

— Cory Cogley

A Separation (2011) • Directed by Asghar Farhadi Iran

Nearly a decade on, Asghar Farhadi’s stunning divorce drama A Separation remains gripping. Set against a vividly realized backdrop of modern Iran, and revolving around an exceptional performance by Leila Hatami, the film takes place in the recent aftermath of a husband and wife’s mutual separation. Most of the ensuing conflict is staged around the recounting of a single accident involving both spouses. By focusing on the characters’ reactions to and behavior during this incident, and exploring how it reflects each of their damaged states of mind, writer/director Farhadi creates a universally relatable yet utterly unique viewing experience.

— Isaac Handelman

The Hunt (2012) • Directed by Thomas Vinterberg Denmark

The Hunt gave Mad Mikkelsen his most prestigious acting award to date, the Cannes Film Festival Award for Best Actor. Though not his first big role or even first award, The Hunt proved that there was more to Mikkelsen than what was shown in action films like King Arthur and Casino Royale. His presence may be the big draw for modern viewers, but The Hunt has more to it than even the now-highly-lauded actor. Director Thomas Vinterberg infuses his co-written script with heart-wrenching devastation as well as controversy, then slowly mounts the tension starting from minute one until its weight is just about unbearable. This is a tough watch for sure, but one that the viewer will never forget.

— Cory Cogley

Blue is the Warmest Color (2013) • Directed by Abdellatif Kechiche France

Abdellatif Kechiche has had more than a few criticisms leveled against his dealings with actors’ sex scenes, but one cannot deny the effect that Blue is the Warmest Color has on its viewers. Audiences at the 2013 Cannes Film Festival were unexpectedly riveted by this emotionally resonant film, and even its graphic sex scenes couldn’t deter high marks. Central among the beautiful filmmaking craft is Adele Exarchopoulos, who quietly steals your heart through her portrayal of a young woman’s emotionally turbulent maturation. Few films can survive a three-hour runtime, yet Blue is the Warmest Color’s blend of coming-of-age beats with weighty themes of sexuality stands out as one of the most spellbinding cinematic recipes of all time.

— Cory Cogley

Housebound (2014) • Directed by Gerard Johnstone New Zealand

From the mind of New Zealander writer/director Gerard Johnstone emerged the expectation-bucking Housebound. The film cruised under the radar when it was released in 2014, which is a shame — this whimsical, creepy comedy-horror outing tells one of the most original haunted house stories imagined this decade. What begins as a conventional, mysterious macabre joint evolves into a strange and boisterously entertaining firecracker of a film. Housebound is certainly a contender for the under-appreciated horror flick of the 2010s that most deserves a cult following.

— Isaac Handelman

Mustang (2015) • Directed by Deniz Gamze Ergüven Turkey

Deniz Gamze Ergüven’s Mustang is a vivid coming of age story told with immaculate grace. For outsiders to Turkish culture, the film also provides an evocative personal perspective on the clash between deeply held tradition and the generational expansion of consciousness. It’s the kind of film that derives universality from deeply personal experiences, but there’s also plenty of joy in watching those specific experiences unfold thanks to Ergüven’s deft hand as well as her exceptional ensemble of young actresses.

— Isaac Handelman

Sami Blood (2016) • Directed by Amanda Kernell Sweden

Sami Blood is an epic recounting of an adolescent saga set in a believably cold vision of 1930s Sweden. The drama succeeds simultaneously as an evocative coming-of-age story and an understated account of ethnic prejudice, specifically the real-life plight of Sweden’s native Sámi people. Filmed with sweeping gusto by Amanda Kernell, Sami Blood is a brooding‚ meditative historical fiction with unfortunate contemporary relevance.

— Isaac Handelman

I Am Not a Witch (2017) • Directed by Rungano Nyoni Zambia

This international co-production is one of the decade’s most under-the-radar gems. Centered on the miraculous, expressive Maggie Mulubwa, Rungano Nyoni’s drama tells the story of a young girl living in rural Zambia who is accused of witchcraft. The tale at the film’s core may be simple, but its luscious cinematographic compositions lend a profound beauty to the proceedings. The elusive goal of every film to tell a story visually, and I Am Not a Witch is a prime, unique example of that goal’s total realization.

— Isaac Handelman

Roma (2018) • Directed by Alfonso Cuarón Mexico

At the heart of Alfonso Cuarón’s most recent masterpiece is Cleo. Despite the film’s recent release, Cleo will surely go down in history as one of the most well-drawn characters in all of cinema. She is strong and lovable, yes, but something more lies beneath her warm, welcoming expressions. Cuarón’s focused writing and direction create the essence of her being, shaped by the performance of Yalitza Aparicio and Cuarón’s cinematography in each masterfully shot frame. This combination of factors absorbs the audience in gorgeous black-and-white images. Digging past the surface, the placid realism of the film transports its viewers into Cleo’s life — with each of her tears, you ache, and with each smile, you feel at peace. With many Oscar nominations and wins (atypical for a Netflix film) and early entry into the Criterion Collection, Roma demonstrates that individually amazing parts of a film can sum to an even greater whole.

— Cory Cogley

Parasite (2019) • Directed by Bong Joon-ho South Korea

Bong Joon-ho is one of the most characteristic writer/directors of the millennium. Even with the crossover success of Snowpiercer and Okja, as well as the indie cred of Mother, The Host, and Memories of Murder, he is still extremely underrated. The visionary filmmaker combines all his best features in Parasite, reigning in the excesses of his past two films to create one of the most thoughtful films I’ve ever seen. Still not convinced to watch it? Check this out.

— Cory Cogley

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