10 Breathtaking Movies to Watch on Netflix
Life is truly a mystery, and inexplicable – and often sinister – circumstances will always overwhelm everyone’s journey at some point, even with an intolerable, insane frequency, mixing everything with the chaos that makes existing seem mired in chaos. distasteful substance that prohibits any movement that gives the impression that reality has given way to a very specific state, as if a dream, long, exhausting, that sucks the energy of those who sleep and tries in vain to manipulate these images into their taste. When he finally realizes that he is imprisoned by memories that he should get rid of – even though he never could – that his history up until then, to a greater or lesser extent, will show some influence on the directions he takes now, that he is drawn by the excesses of his own thinking, in the misty labyrinth of his unstable head, it is only up to man to convince himself that life is really the cornucopia of delusions that it appeared to him from an early age. What has no explanation, what has no name, much of what reason cannot reach, controls the narrative of the ten films that make up the list available to Netflix subscribers, listed according to the most recent year of release and in alphabetical order , they dissect, almost literally, this predator of man, hunter of his own kind, wolf in wolf’s clothing.
Luther: Nightfall (2023), Jamie Payne
In an epic continuation of the award-winning “Luther” series, a serial killer terrorizes London, but brilliant detective John Luther is behind bars. Haunted by his failure to catch the cybernetic psychopath now challenging him, Luther decides to break out of prison to finish the job at all costs.
In the Palm of Your Hand (2023) Tae-joon Kim
When Na-mi returns home, she loses her smartphone with all its data. Jun-yeong finds the device, but installs spyware before returning it to the owner. With the program, he begins to follow the girl’s footsteps and learn everything about her, such as the places she goes, hobbies, preferences, work, finances and social networks, and approaches without revealing her true identity. Na-mi is relieved to get her phone back, but her happiness is short-lived: soon a macabre turn causes her to lose control of her life.
The Unknown (2022), by Thomas M. Wright
“The Unknown” (2022) is a unique film. To avoid abusing violence, Thomas M. Wright, screenwriter-director, reveals situations in the police case that laymen do not even dream of being possible. In an attempt to find a minimally sane answer that points to a rationale for the moral decay in which we have all been immersed for some time now, Wright composes a somewhat farcical tale, between satire and essay, about police officers who do, what the law allows them to do. to do – that is, very little – with the intention of conducting a murder investigation. Once they realize that observing all legal rituals is more than useless, counterproductive, one of them in particular bets the last chip, in a risky maneuver that could result in bloodshed, starting with his own. Wright’s text stands out for its subtlety, but it never gets carried away by easy ambiguity. Here, no one does very well in the role of good guy; however, each character plays the role expected of him without much room for major arguments.
Night Nurse (2022) by Tobias Lindholm
The countless blows that fate attacks us with mostly come in the form of health problems, without which not much can be done and against which it is necessary to fight. To earn a living by the sweat of one’s brow, by work, honest, dignified, and able to absorb ourselves in such a way that we forget the fundamental and urgent questions that torment us in secret, is a powerful principle by which every woman and every man is guided man who pretends to be admirable, even if only to himself. At its heart, what “O Enfermeiro da Noite” (2022) is about is the story of a devoted serial killer who left a trail of deaths over more than seven years, but mainly the tribute to an exceptional woman. Director Tobias Lindholm is adept at manipulating the viewer’s focus in one direction and little by little making him notice the big character that leaves the background and occupies the center of krysty Wilson-Cairn’s script based on the book of the same name . by Charles Graeber about a melancholy true event.
The Pale Blue Eye (2022) by Scott Cooper
“The Pale Blue Eye” trumps the basics of suspense storytelling. By relying on technical elements, Scott Cooper has the ability to revive interest in one of the most daring writers of all time, while escaping the obvious by choosing to focus on the details that seduce his audience, whether by look or by what is said. Masanobu Takayanagi’s impeccable photography removes any doubt about Cooper’s intentions, transporting the viewer to the setting, as terrifying as it is beautiful, of the Hudson Valley, near 1830s New York during a severe winter responsible for making the especially sad weather.
The Soul (2021) by Cheng Wei-hao
Asian cinema has been able to break paradigms and prejudices and is gaining more and more prominence in all genres, embodying the most complex plots and bringing new perspectives to subjects that were thought to be obsolete – and it does all this with competence and originality, often mixing a number of cinematic languages in a single plot. In “The Soul”, the murder of a major businessman prompts a thorough investigation by prosecutor Liang Wenchao and his wife, agent A Bao. Gradually they unravel the many mysteries of the case, such as that everyone who was close to the dead man had very solid reasons to finish him off. From then on, they realize that they are in great danger if they do not soon discover the identity of the criminal.
The Connection (2020), by Lee Chung-hyun
That South Korean cinema is doing very well, thank you, no one can deny that. This trend has crystallized since 2019 with the launch of “Parasite”, for the well-being of the market and the respectable public. In the thought-provoking “A Ligação”, Lee Chung-hyun brings together mystery, action and a good pinch of supernatural elements to leave the viewer with their hair on end and a flea behind their ear. This is “the movie” for those willing to make some concessions to logic and linger on the couch.
Who with Iron Hurts (2018), by Paco Plaza
Let those who have never found themselves tormented by crises of conscience throw the first stone that appears after years of grappling with the past. Thanks to the many ironies of fate, Mario, a former heroin addict who lost his brother to the drug, has the opportunity to be reunited with the man who almost destroyed his life. But life itself has already changed a lot: Mario is much more interested in taking care of his wife, who is pregnant with the couple’s first child, and managing a career as a head nurse in a large hospital specializing in the elderly than in the fleeting. past pleasures. And it is under these conditions that he is reunited with his former tormentor, a drug lord who even today extends his tentacles around the world as he, crushed by a degenerative disease, struggles to survive and die with some dignity, a chance because Mario’s brother had not.
Race! (2017), directed by Jordan Peele
Life in society presents us with a challenge that must be overcome every day, because in addition to each day having its own obstacles and the rare joys that are worth all the agony of existing, this power helps us, the power to simply step over anyone we weren’t here. After a long career in front of the camera in not exactly dense films, Jordan Peele was determined to bring to life the stories that deserve to be told, and it’s about time. Confronting one of the most pressing questions of our time, “Run!” (2017) has the ability to draw the viewer into the center of a disturbingly seductive but also demanding narrative that demands attention and sensitivity in equal measure. Peele knows very well what he is talking about: the resurgence of racist thinking after a very short truce, dealt with in his script a few times, comes to light in the most hideously aggressive form, a moment in which the director-screenwriter seizes the opportunity. to go deeper into the discussion that makes your work so relevant.
The Girl on the Train (2016), Tate Taylor
Rachel mourns the end of her marriage. Alcoholic and depressed, she takes the train to London every morning and fantasizes about the life of a seemingly perfect couple she sees from the train window. One day, Rachel witnesses a shocking scene between the couple and quickly discovers that the woman is missing. Convinced that she has important information, she turns to the police and becomes involved in the investigation of the case.