8 Must-See Recent Film Treasures

      In case you missed them, be sure to explore these recent treasures…

      Every year, numerous films are released, and some inevitably fly under the radar. Even those that receive critical praise during the festival circuit may not generate the widespread excitement upon their release that they rightfully deserve.

      When it comes to global cinema, it often requires considerable buzz to attract attention from audiences in the US and UK, typically sparked by notable performances at the Oscars (like Parasite). However, not every film gets recognized at the Oscars.

      Specialized physical media labels and streaming platforms strive to showcase outstanding world cinema and indie jewels, and here at Flickering Myth, we aim to offer you some insights as well. Here are eight recent must-see films (most of which are available on Mubi)…

      **My Father’s Shadow**

      Partly autobiographical, Akinola Davies Jr's directorial debut has garnered a Bafta and should draw some attention in the UK, but this film merits a broader audience. It follows two young boys in a small Nigerian village who embark on a journey to Lagos with their estranged father. The experience is a sensory adventure that excites, dazzles, and sometimes terrifies the boys as they reconnect with a father who has been absent for long periods due to work.

      Set against the backdrop of political and democratic turmoil in 1993, Davies immerses viewers in a time and place that feels genuine and grounded, featuring a cast primarily made up of non-actors. The film is dynamic and visually striking, while also providing poignant dramatic moments as the father grapples with his familial, professional, and national responsibilities. Sope Dirisu delivers an outstanding performance. This assured debut from Davies leaves a profound impact.

      **Winter in Sokcho**

      In this introspective character study set in a snowy coastal town in Korea, a young girl (who is half French and has never met her father) finds her life disrupted by the arrival of an eccentric French artist. He captivates her, offering a tenuous yet sometimes meaningful link to that part of her heritage she hardly comprehends (other than speaking a bit of the language).

      Koya Kamura’s film is a measured slow burn that centers on their unconventional relationship, with the wintery landscape beautifully captured on screen.

      **It Was Just an Accident**

      The background of this film and its director, Jafar Panahi, is nearly as captivating as the story itself. Panahi’s work often includes social and political critiques, which have led to his imprisonment and forced him to shoot many scenes under risky conditions and in a guerrilla style.

      In this narrative, a group of loosely interconnected individuals gathers after Vahid kidnaps a man he believes is his past torturer. Unsure of his identity, he enlists other former victims to help confirm whether the man is indeed the interrogator known as Peg-Leg. Despite the film tackling dark themes, it incorporates a macabre, sometimes absurd humor that provides comic relief amid the intense post-trauma moments. Panahi’s use of primarily non-actors is noteworthy, as they deliver remarkable performances.

      **Sorry, Baby**

      Eva Victor’s feature debut is a raw and subtly impactful drama where she skillfully balances writing, directing, and acting. The film's absence from the Oscars is arguably one of the event's greatest oversights.

      Drawing loosely from her own experiences, Victor effectively captures the complexity of grappling with trauma. The authenticity radiates on screen, bestowing the film with a depth often lacking in American dramas. Visually appealing with simple yet beautiful compositions, Victor ensures her blocking remains unobtrusive. As for her performance? It is beautifully understated.

      **No Other Choice**

      While it may appear surprising to see Park Chan-wook’s latest film as slightly overlooked, this acclaimed director has unfortunately seen another film of his go blank at the Oscars, despite critical praise. His trademark style dazzles as always, infused with a vein of dark humor.

      Beneath the excitement, the film offers biting satire and insightful social commentary. Central to the narrative is a superb performance by Lee Byung-hun as a well-off family man whose life is turned upside down by redundancy and thrust back into a fiercely competitive job market.

      **Monica**

      Trace Lysette stars as Monica, a trans woman returning to her childhood home to assist her estranged mother, who suffers from dementia. The mother essentially disowned her, but has largely forgotten about Monica’s transition. As Monica reconnects with her sister and family, she grapples with a fractured relationship with her mother, knowing it may never be resolved.

      Finding peace with this broken bond must come from Monica, especially since her mother is no longer capable of repairing the relationship or seeking forgiveness. Lysette’s performance is exceptional, and the film is visually striking, shot on film and in a narrow portrait-like frame.

      **The Outrun**

      Based on Amy Liprot's memoir, The Outrun features Saoirse Ronan