This article is regularly updated as movies enter and leave Netflix. *New additions are indicated with an asterisk.
As you have probably noticed by now, the major streaming services (and/or their algorithms) are often eager to promote the big films almost everyone has already seen. Yes, Pulp Fiction and Black Panther, two hugely popular titles, are available on Netflix. Feel free to rewatch them!
But what if you’re looking for something new? What if you want to watch a great movie you’ve never even heard of before today? Then this is the list for you: a collection of movies on Netflix that didn’t play theatrically in almost any city other than New York or Los Angeles and could easily be lost among the “bigger” movies that get pushed to the front of your Netflix page. There’s not a bad movie in here, and we’re willing to bet there are at least a few you haven’t seen. This is your chance to change that. (And for our main list of the 100 best movies on Netflix, click here.)
Broad City star Abbi Jacobson proves she can handle drama as well as comedy in this harrowing story of addiction from writer-director Marja-Lewis Ryan. Jacobson plays Katie, sister to Seth, played by Dave Franco in his best career performance yet. Seth is a heroin addict, and he’s in a place Katie has seen him before, right on the edge of a relapse. While films about addiction aren’t rare, few recent ones are this effective at telling the story of not just the addict but the way addiction impacts loved ones. Netflix is very bad at promoting its original films, and this one was barely marketed after its 2018 SXSW premiere, dropping on the service before the festival was even over and then quickly being forgotten. Go find it.
Rod Blackhurst and Brian McGinn’s documentary about one of the most famous murder cases of the past decade has been relatively lost in the deep catalogue of true-crime stories on Netflix, with series like Making a Murderer and The Keepers getting the bulk of the promotion and attention. Trust us that any fan of crime documentaries should take the time to dig into this 2016 film about the investigation into the murder of Meredith Kercher in 2007. The British student was brutally killed in her own apartment in Perugia, Italy, at the age of 21, and the authorities went after Kercher’s flatmate, Amanda Knox, and her boyfriend, Raffaele Sollecito, almost immediately, despite some conflicting evidence. The documentary is a fascinating look at how many other factors beyond evidence can influence an investigation, including public pressure and perception of the suspects.
Mati Diop directed this 2019 critical darling, the first film by a black woman to compete at the Cannes Film Festival. It’s a riveting, haunting blend of genres, both finding something grounded in the way it captures the rarely-seen reality of life on the Senegalese coast and something supernatural that emerges from the veracity of the storytelling. It’s about Ada, a woman who lives on the Atlantic Ocean with her partner Souleiman, who becomes one of many men who try to leave for more work opportunities. Working mostly with unknown actors, Diop’s filmmaking is personal and daring in ways you won’t really find elsewhere on Netflix.
The Ballad of Lefty Brown
Bill Pullman does some of his best later-career work in this Western written and directed by Jared Moshe, which was barely released by A24 back in 2017. What happens to all those sidekick characters in Westerns when their partners ride off into the sunset? That’s the basic idea here, tracking the journey of a man who has been a sidekick his whole life and now has to lead the way. Pullman is excellent, ably assisted by a cast that also includes Peter Fonda, Jim Caviezel, and Kathy Baker.
*The Blackcoat’s Daughter
Oz Perkins (son of Psycho star Anthony Hopkins) develops a more loyal fan base with each release, as evidenced by praise for recent works like I Am the Pretty Thing That Lives in the House and Gretel & Hansel. However, his best film remains this 2015 gem, a piece that recalls Dario Argento but also feels very much like the singular voice of an emerging young talent. Perkins wrote and directed the story of two Catholic schoolgirls who stay at their boarding school over winter break and, well, start to suspect a thing or two about the nuns there. Meanwhile, a young lady seems to be returning to the school on a different timeline. The whole thing has a disorienting, unsettling atmosphere and the stars of the piece — Emma Roberts, Kiernan Shipka, and Lucy Boynton — really nail the tone.
On paper, this delicate character drama probably sounds like a movie you’ve seen dozens of times before (or hundreds if you go to Sundance). A relatively lost young man returns home in the middle of an emotional crisis and bumps into an old girlfriend. The man in this case is played by Mark Duplass, doing some of the best work of his career dramatically, and the ex-girlfriend is played by the simply always great Sarah Paulson. Like Richard Linklater’s Before movies, Blue Jay has a delicate, simple structure that’s based almost solely on dialogue that allows two performers to build completely three-dimensional characters, and Duplass and Paulson are totally up to the challenge.
The wonderful creatives over at Cartoon Saloon earned some much-deserved attention for their 2020 gem, Wolfwalkers, now on Apple TV Plus, but it wasn’t even close to their first film. These geniuses make internationally renowned fables that refuse to talk down to children, including Song of the Sea and The Secret of Kells. One of their most acclaimed works was this 2017 drama based on the best-selling novel of the same name by Deborah Ellis that was acclaimed enough to earn an Oscar nomination for Best Animated Feature. It’s the story of an 11-year-old girl in Kabul who is forced to pretend to be a boy to support her family. Tender and nuanced, it’s the kind of character study we don’t get often enough in animation.
Lee Chang-dong’s 2018 Cannes hit was a critical darling around the world but still feels tragically underseen by the average Netflix subscriber. Change that now. This is a brilliant psychological thriller about class and obsession that people will be admiring for generations. One of the best films of 2018, it stars Yoo Ah-in as an ordinary young man named Jong-su, who runs into a childhood friend name Hae-mi (Jeon Jong-seo) and starts to spend a lot of time around her. After she goes on a trip, she returns with another friend named Ben (a phenomenal Steven Yeun), who seems somewhat vaguely threatening. It’s less vague, at least to Jong-su, after Hae-mi disappears. This adaptation of a short story by Haruki Murakami is a tense conversation starter for anyone who watches it.
Writer/director Phillip Youmans became the first African-American director to win the Founders Prize at the Tribeca Film Festival in 2019. Also worth noting: Youmans was born in 2000. The teenage auteur impressed the fest jury with this lyrical debut about life in rural Louisiana. It’s essentially the story of a woman named Helen (Karen Kaia Livers) who is faced with difficult men in her life, including a self-destructive son, and an alcoholic pastor that’s played with searing power by the great Wendell Pierce of The Wire. Smart and original, Youmans’s films feels like the pronouncement of a major talent, even if it’s one that’s barely now old enough to drink.
*Cut Throat City
Wu-Tang Forever! The amazing RZA of the Wu-Tang never gets enough attention for his musical genius, and the same holds true for his cinematic contributions, whether it’s acting in films like The Dead Don’t Die or composing the scores for films like Kill Bill. Even his directorial efforts are under-appreciated — like this film that got lost in the pandemic after an aborted SXSW premiere. An old-fashioned action flick with social purpose, it stars Shameik Moore as one of four friends in New Orleans whose life is forever upended by Hurricane Katrina. With few options, they turn to a crime lord played by T.I. and are asked to participate in a heist. A tough, challenging, ambitious movie, this one also has a great supporting cast that includes Terrence Howard, Ethan Hawke, and Wesley Snipes.
Justin Benson and Aaron Moorhead make genre films that work more from relatable human emotion than high concepts. The directors cast themselves here as a pair of brothers who escaped a cult years earlier, but questions have sent them back to the commune they once fled. There, they find something unexplainable, a break in reality in which people are sent into loops, living the same events over and over again. How do we break free from our own destructive patterns? This is a daring, brilliant film, one of the best genre offerings on any streaming service.
Girl on the Third Floor
If you miss the days of grisly body horror like we do, check into this gnarly 2019 about a man remodeling a house who makes some very bad decisions and uncovers something more than mold hidden in the walls. Wrestler C.M. Punk is legitimately excellent as the lead, channeling a ‘Bruce Campbell in Evil Dead’ energy. He plays Don Koch, a man who should have considered remodeling his personality before he started tearing down the walls of a haunted house.
All hail Wong Kar-wai. One of the best filmmakers of his era directed this period piece starring Tony Leung as Ip Man, the legendary martial arts expert who would notoriously go on to teach Bruce Lee a thing or two. This film was treated horribly by Harvey Weinstein, and so denied the international attention it deserved. It’s a lavish, gorgeous epic that features both Wong’s incredible eye for detail and his romantic sense of storytelling.
*I Am Not Your Negro
Raoul Peck’s 2016 documentary about James Baldwin gained new fame and relevance in the wake of the Black Lives Matter protests of 2020, during which it was often cited as must-watch material to understand where the country is now by reflecting on Baldwin’s insight about where it’s been. Available on Netflix, Peck’s film works from an unfinished manuscript by Baldwin titled Remember This House, which examines the history of racism in this country. Narrated by Samuel L. Jackson, the film moves through Baldwin’s memories of the civil rights movement, including leaders like Malcolm X and Martin Luther King Jr. It was nominated for the Oscar for Best Documentary (and it probably should have won).
*Kicking & Screaming
No, not the kiddie soccer movie with Will Ferrell. This is the breakthrough debut of a major talent that Netflix has come to love, Noah Baumbach. Long before he directed Netflix originals like The Meyerowitz Stories and Marriage Story. Baumbach wrote and directed this 1995 ensemble comedy that’s largely based on his life and friends in college, starring Josh Hamilton, Chris Eigeman, Parker Posey, Olivia d’Abo, Elliott Gould, and Eric Stoltz. Fun trivia: Baumbach’s college roommate helped get the film produced by attaching a praise-filled letter from Steve Martin to the script when he submitted it to financiers. That smart producer? Jason Blum.
The Kindergarten Teacher
Sara Colangelo’s 2018 remake of Nadav Lapid’s hit 2014 Israeli film was one of the most-buzzed movies at Sundance the year it premiered, but it feels like one of those Netflix Originals that got lost in a service that releases something new every week. A character-driven drama like this is bound to get lost in the shuffle. Dig in and find the story of Lisa Spinelli, played by Maggie Gyllenhaal in one of the best performances of 2018. She’s a Staten Island kindergarten teacher who is startled when one of her students, a sweet boy named Jimmy, starts reciting beautiful poetry. Has she found a new child prodigy? Can she save him before society destroys his artistic impulses? What would the modern world do to someone like Mozart? Gyllenhaal perfectly balances the passion and potential danger within a character who becomes obsessed with a child. You won’t forget this one.
There have been a number of documentaries about the Los Angeles riots, but none quite as powerful as Daniel Lindsay and T.J. Martin’s on-the-ground reporting of the event that premiered at the Tribeca Film Festival back in 2017 before airing on National Geographic, and now on Netflix. It consists entirely of archival footage, capturing not only what erupted in Los Angeles after the Rodney King verdict but incorporating footage from other major L.A. events that led up to that moment, including 1965 Watts Riots and the shooting of Latasha Harlins. How good is LA 92? It was nominated for the Emmy for Exceptional Merit in Documentary Filmmaking, where it won, beating O.J.: Made in America and The White Helmets, both Oscar winners.
Isabel Sandoval wrote and directed this phenomenal drama about an undocumented Filipina trans woman who works in Brooklyn named Olivia, also played by Sandoval. She has been caring for an elderly Russian woman there in Brighton Beach but she’s running out of chances to become a legal immigrant when she meets Alex (an excellent Eamon Farren), Olga’s grandson and begins a romance. This is a warm and nuanced study of the immigrant experience and trans rights that we don’t often see in American indie dramas and announces Sandoval as a talent to watch.
It’s hard to say that any recent Oscar nominee is underseen, but this drama from 2016 feels like it’s been largely forgotten, and that’s a shame. Featuring two of the best performances of that year, this is Jeff Nichols’s telling of the story of the landmark case of Loving v. Virginia, a Supreme Court decision that basically allowed for interracial marriage in this country in 1967. Yes, as recently as that date it was still illegal in many states for people of different races to marry. Joel Edgerton and Ruth Negga (an Oscar nominee for Best Actress) play Richard and Mildred Loving, an unassuming couple who just wanted to live life in love and peace but had to fight to do so. This is a smart, empathetic drama that eschews flashy Oscar bait theatrics to present two completely genuine people.
Maps to the Stars
This is looking more and more as though it could be David Cronenberg’s last movie (frowny-face emoji). The masterful filmmaker behind A History of Violence, Eastern Promises, and The Fly hasn’t made a film since this 2014 satirical drama, written by Bruce Wagner. When it was released, audiences barely paid attention to it, and big fans of Cronenberg wrote it off as being minor in his career. Sure, but “minor Cronenberg” is still worth seeing, especially when it stars Julianne Moore, Mia Wasikowska, and Robert Pattinson. It’s a tapestry piece, kind of like Robert Altman’s Short Cuts, that captures modern life in Los Angeles, and it features yet another great performance from Moore. It’s not perfect, but there are a lot of interesting ideas in this ambitious project, and the cast alone makes it worth your time.
There aren’t many movies about the American Yiddish experience, and that’s only part of what makes Joshua Z. Weinstein’s 2017 indie drama feel so unique. Told in Yiddish with subtitles, this is the story of Menashe (Menashe Lustig), a widowed Yiddish man who is struggling to balance his life and faith as he seeks to regain custody of his son Rieven, who has been living with his aunt and uncle per a ruling from their Rabbi that Menashe must remarry before he can be his father again. A smart character study, this is a window into a life that many pass on the street but rarely consider.
The charming Noël Wells wrote, directed, and stars in this SXSW hit that was barely released in theaters, meaning you probably haven’t seen it. The former star of Master of None and Saturday Night Live plays Emily Martin, a young woman who returns to her hometown after the death of her cat, which gives the film its title. At home, she’s forced back into the life of an ex-boyfriend, played by Nick Thune. Not only is Wells sweet and funny, she has a strong voice as a writer-director, imbuing with honesty and heart a film that could have felt like hundreds of other fest hits. She may become a major independent filmmaker. Watch this before she does.
The Night Comes for Us
If you liked the Raid movies and you haven’t seen this 2018 Timo Tjahjanto film, then you’re doing something wrong with your life. Think of this as The Raid on Steroids. Sure, there’s a plot about a Triad soldier who makes people angry when he refuses to shoot a child, but it’s merely a skeleton for some of the most insane action you’ve ever seen. Imagine a kung-fu movie in which people have knives and axes and other sharp objects instead of just their fists of fury. This is an angry, bloody mess, but there’s a rhythm and a beauty to the action choreography that’s inspired, too. It’s a movie that finds a way to make gore glorious.
The One I Love
Charlie McDowell directed this brilliant little sci-fi gem, which features two of the best performances of Mark Duplass and Elisabeth Moss. The two play a couple whose therapist (Ted Danson) suggests they take a retreat to find themselves as partners again. From the beginning, something seems just a bit off about the retreat, but the pair discovers something straight out of The Twilight Zone that we wouldn’t dare spoil here. If you don’t know the twist yet, you owe it to yourself to go in as fresh as possible. Trust us on this one — this is a smart, well-acted character piece that merges relationship drama with sci-fi concepts in a way that makes both genres feel fresh again.
Rod Lurie (The Contender) directed this intense adaptation of the non-fiction book of the same name by CNN’s Jake Tapper. It tells the story of the Battle of Kamdesh, one of the most devastating attacks in the war in Afghanistan, in which 300 Taliban members assaulted an American outpost in the eastern part of the country. Lurie takes a very thorough approach, presenting key events leading up to the attack in an ensemble fashion, allowing various members of his excellent young cast to take center stage, including Scott Eastwood, Caleb Landry Jones, Orlando Bloom, Jack Kesy, and Will Attenborough. But the real draw here is the assault itself, which is harrowing in ways that war films often aren’t allowed to be.
The consistent Lynn Shelton co-wrote this drama with star Jay Duplass, and it marks the best work to date of either one. The Transparent star plays Chris, a 38-year-old just released from prison after spending more than half his life behind bars. Naturally, he’s still developmentally closer to being 18 than he is to 38, and this is reflected in a quick attachment to his former high-school teacher Carol, who supported him during his incarceration and is played by the always great Edie Falco. This is a nuanced, graceful character piece about two people with very different life experiences who find themselves drawn to each other. When people say they don’t make dramas for adults like they used to, point them to this movie.
Nicolas Pesce (Eyes of My Mother) wrote and directed an adaptation of the novel of the same name by Ryu Murakami, and it’s already developed something of a cult following since its 2018 Sundance premiere and brief 2019 theatrical release. Christopher Abbott is fantastic (he always is) as a serial killer who pretends to go on a business trip but it’s really to feed his need to kill so he can go back to his family again. He hires a sex worker, played by Mia Wasikowska, with the intention her being his next victim, but things don’t go exactly as planned. Tight and effective, this is a different kind of two-hander for a pair of wonderful young actors.
Everyone seems to be in love with Pedro Pascal lately with his work on The Mandalorian, Wonder Woman 1984, and even the casting news that he’s going to star in HBO’s adaptation of The Last of Us. Check out one of his most underseen performances in this effective 2018 indie sci-fi film that premiered at that year’s SXSW Film Festival. It’s an interesting piece of lo-fi sci-fi about a teenage girl and her father (played by Jay Duplass) who go to alien moon to find gems but encounter a pair of dangerous strangers when they get there.
Andrew Bujalski’s Support the Girls got a lot of buzz in 2018, even winning some awards for its great central performance by Regina Hall. If you liked it, check out Bujalski’s last film, another movie about a very unique working environment. The irascible Kevin Corrigan stars as Danny, one of those schlubs who suddenly finds himself wealthy and has no idea what to do with his money or his time. Why not get a personal trainer? This decision brings him into the lives of a local gym owner named Trevor (Guy Pearce) and his best employee, Kat (Cobie Smulders). The star of How I Met Your Mother is wonderful here in yet another Bujalski film that’s always about character and never quite what you expect it to be.
Roll Red Roll
In August 2012, a teenage girl in Steubenville, Ohio, was raped and then photographed by a group of teenage boys. The case came to light slowly, first through social-media posts by their peers and then through some investigative journalism by bloggers. Nancy Schwartzman’s documentary doesn’t examine the case itself as much as how it impacted a community. It turned out that some of the criminals were members of the very popular local high-school football team, a circumstance that influenced the way the case was investigated and reported to the public. There are a lot of true crime docs on Netflix but few that look at the impact of crime on an entire city the way this one attempts to.
Billy Corben’s documentary comes that wonderful subgenre of films that could be called “stranger than fiction.” Someday, someone will make an award-winning black comedy about the Biogenesis scandal that rocked Major League Baseball, but it probably won’t be as hysterical as hearing the story straight from the mouths of the men who lived it. Even if you think you know all the details of the Florida company that fed performance-enhancing drugs to major athletes, you probably don’t know all of the wonderful details (especially when it comes to the insane life of Alex Rodriguez, whom you will never be able to look at the same way again).
If you’re looking for an action movie on Netflix that you might not have seen, look no further than Zhang Yimou’s latest, a movie barely released in the States but one that made almost $100 million in the rest of the world. The director of Hero and House of the Flying Daggers returns to period action with this story of warring kingdoms. It’s not a film that you’ll appreciate for its storytelling as much as its daring visual style, one that turns action choreography into something closer to ballet or performance art. It’s mesmerizing and beautiful.
William Eubank co-wrote and directed this 2014 Sundance genre flick with a solid cult following, especially in a time when everyone feels more divided than ever. It’s the story of three MIT students on a road trip to California, where one of them is moving. Along the way, they start to receive threatening emails and track them to a source in the middle of Nevada, and then things get really weird. Trippy and memorable in a way that blockbuster sci-fi films aren’t usually allowed to be, this one also has a strange ending that will keep people talking. Eubank didn’t make another film until 2020’s Underwater, another genre flick with some big ideas.
The great Kiersey Clemons plays Jennifer, a woman who washes up on a deserted island after a shipwreck that kills her friend and sends the other passengers into the water. She’s alone, fighting against the elements and figuring out how to survive. And then she discovers, well, she’s not alone. A blend of monster movie plot points, gender commentary, and survivor story, this is a great indie horror gem that deserves a bigger audience. Watch it before your best friend tells you to.
Chicagoan Pat Healy has become one of the most consistent character actors of his generation, starring in terrific movies big (The Post) and small (Cheap Thrills). He’s constantly working, and he has used that capital to direct his first feature, a clever screwball comedy starring himself and Orange Is the New Black’s Taylor Schilling. Ray (Healy) runs a unique business that one can use for a sort of very intense intervention: People ask Ray to kidnap them. (For example, he absconds with a man who regularly cheats on his diet to force him to shape up.) But after Anna (Schilling) hires Ray, she starts to push the rules, and, well, things get truly odd. It’s sort of a screwball thriller, if there is such a thing. Well, there is now.
This is a perfect example of a movie that feels truly buried by Netflix. If a studio had released this delightful romantic dramedy in theaters, even just in major cities, people would have noticed. It’s smart, funny, and contains a pair of wonderful young performances. But it got hidden on Netflix in April 2017, and no one talks about it. Get your search function going and find the story of Danny (Callum Turner) and Ellie (Grace Van Patten), two struggling New Yorkers drawn together over a mysterious briefcase. Even if the narrative gets a little goofy, the infectious energy of the two leads keeps this flick, which is basically a caper movie, humming.
We the Animals
Jeremiah Zagar’s adaptation of the hit Justin Torres book was a major player at the 2019 Independent Spirit Awards and is the kind of film a streaming service like Netflix could really help bring to a wider audience. Sadly, it’s also the kind of film likely to get lost in an overcrowded streaming service if you don’t know to search for it. It’s a story of adolescence, a tough upbringing shown through the eyes of three brothers, although our perspective is mostly that of Jonah, who is forced to deal with an abusive and often distant father and the discovery of his own sexuality. It’s somehow poetic and genuine at the same time, which is no easy feat for any filmmaker. Zagar uses a grainy 16mm approach to ground the movie in something that feels tactile, while also allowing for what sometimes feels like magic.
*What Happened Miss Simone?
Liz Garbus, one of the best documentary directors out there, pulls apart the life of the fascinating Nina Simone in this Oscar-nominated Netflix original that came out early in the days of the streaming service’s ascendance and so may have been missed by the millions of subscribers since then. It premiered at the 2015 Sundance film festival and tells the life story of Simone, who was way more than just a powerful singer to her fans, using her fame to fight for civil rights while also fighting to maintain her privacy. Garbus incorporates previously unseen archival footage with interviews with Simone’s daughter and friends in a way that feels respectful of Simone’s life and powerful impact on arts and humanity.
The best documentary yet about the uprising in Ferguson after the killing of Michael Brown, this 2017 flick gained more relevance after the protests of 2020 after the murder of George Floyd. It’s a striking on-the-ground look at life in the days following the Brown murder and the protests that became violent examples of the divisions in these communities, and around the world. It gains most of its strength by virtue of seeing through the eyes of the people who were there, often using their own footage of riots and protests, and focusing on the men and women fighting for civil rights in their own streets.
Actor Paul Dano co-wrote (with his partner Zoe Kazan) and directed this moving drama based on the novel of the same name by Richard Ford. Carey Mulligan gives one of the best performances of her career as a 1960 Montana woman who lives a normal life with her husband Jerry (Jake Gyllenhaal) and her son Joe (Ed Oxenbould). After Jerry is fired from his job, he decides to take a job far from home, fighting forest fires. The decision strains his marriage in every way, but the brilliance of this film is how much of it is seen through the eyes of their son, Joe. In many ways, this is a drama about that time when one learns their parents are flawed, imperfect people, and it’s anchored by deeply empathetic writing, directing, and performances.