It occurred to me after finishing up my “top 10” movies of 2023 list that my top three films of the year were all subtitled “foreign” films from the former Axis powers: Japanese, Italian, and German-language films, respectively. Other films on my list were in Danish and Icelandic (Godland) and partially in Korean (Past Lives). Why do I populate my list with so many subtitled and “indie”-type films that are off the radar of mainstream moviegoing audiences?

First, I like highlighting quality movies you might have missed. It’s relatively easy to be aware of the latest franchise blockbusters on offer. It’s harder to discover the hidden gems that don’t have advertising budgets or #Barbieheimer-style viral momentum. I still celebrate “mainstream” movies when I find them exceptional (e.g. The Boys and the Boat and Wonka made my “best movies” list), but I especially love being able to draw attention to commendable films that are easy to miss.

Second, the reality of Hollywood these days is that commendable, non agenda-driven movies are simply harder to find. Your average Disney kids movie, A-list rom-com, or tentpole blockbuster is not only mediocre in quality, but pushy in its messaging. Meanwhile, the majority of “Oscar” movies vie for acclaim by obsessing about identity politics or pushing the “transgression” envelope (snooze). Because of this, I find the most praiseworthy films are usually not the ones most praised by the prevailing media zeitgeist. That doesn’t mean praiseworthy films aren’t out there; they might just be more on the margins, or where you’d least expect to find them (the 37th Godzilla film, for example). I’m happy to play the role of curator-discoverer to help you find these diamonds in the rough.