- The Kings of the World (Colombia, 2022) – Youth on the Margins of Belonging
- It Was Just an Accident (France, 2025) — When Justice and Revenge Collide
- Green Border (Poland, 2023) – Where Europe Draws Its Lines
- Joyland (Pakistan, 2022) – An Immense Revolution in Pakistani Cinema
- Banel & Adama (Senegal, 2023) – Love Against the Weight of Tradition
- I’m Still Here (Brazil, 2024) – Memory as an Act of Resistance
- The Seed of the Sacred Fig (Germany, 2024) – When Authority Enters the Home
- Left-Handed Girl (Taiwan, 2025) – Growing Up Against the Grain
- Aïcha (Tunisia, 2024) – Disappearing as a Form of Survival
- The Mysterious Gaze of the Flamingo (Chile, 2025) – Desire Under Observation
- Sirat (Spain, 2025) – A Passage Through Uncertainty
- No Other Choice (South Korea, 2025) – The Violence of Necessity
- The Girl with the Needle (Denmark, 2024) – Poverty, Desperation, and the Fragility of Morality
- The Uncle (Croatia, 2022) – Domestic Order and the Specter of Control
- Cocote (Dominican Republic, 2017) – Faith, Grief, and the Clash of Worlds
- Bauryna Salu (Kazakhstan, 2022) – Inheritance, Identity, and the Quiet Burden of Tradition
- Fallen Leaves (Finland, 2023) – Ordinary Loneliness and Fleeting Warmth
- Lamb (Ethiopia, 2015) – Innocence, Exile, and the Bonds That Endure
- Agent of Happiness (Bhutan, 2024) – Measuring Joy in the Himalayan Silence
- I Have Electric Dreams (Costa Rica, 2022) – Rage, Desire, and the Awakening of Self
- Close (Belgium, 2022) – The Silent Shattering of Innocence
- How to Make Millions Before Grandma Dies (Thailand, 2024) – Between Affection and Obligation
- November (Estonia, 2017) – Folklore, Hunger, and the Dance Between Life and Death
- Argentina, 1985 (Argentina, 2022) – Memory on Trial
- Citizen Saint (Georgia, 2023) – When Faith Turns to Stone
- Wet Season (Singapore, 2019) – Loneliness, Desire, and the Quiet Storm of Routine
- I Am Not a Witch (Zambia, 2017) – Innocence, Power, and the Weight of Myth
- Hive (Kosovo, 2021) – Honey, Loss, and the Quiet Revolution of Resilience
- Monster (Japan, 2023) – Truth, Perception, and the Shifting Faces of Innocence
- Subtraction (Iran, 2022) – Double Lives and Unseen Reflections
- Four Souls of Coyote (Hungary, 2023) – Ancestral Myths and Ecological Warnings
- A Ghost Story (United States, 2017) – Time, Loss, and the Weight of Memory
- A Sun (Taiwan, 2019) – Shadows Beneath the Light
- Hounds (Morocco, 2023) – A Portrait of Urban Alienation
- Late Night with the Devil (Australia, 2023) – A Stage for Horror and Society
- Simón (Venezuela, 2023) – When a Revolution Follows You Abroad
- Abang Adik (Malaysia, 2023) – Stateless but Not Loveless
- Crossing (Sweden, 2024) – Boundaries of Blood and Identity
- Plaza Catedral (Panama, 2021) – Loss, Inequality, and the Weight of Silence
- Beautiful Beings (Iceland, 2021) – Brutality, brotherhood and the need to be held
- Beasts Clawing at Straws (South Korea, 2020) – Desperation in a Suitcase
- 7 Prisoners (Brazil, 2021) – The Invisible Chains of Exploitation
- The Worst Person in the World (Norway, 2021) – A Millennial Drift Between Longing and Liberation
- Night of the Kings (Côte d’Ivoire, 2020) – When Storytelling Becomes Survival
- Luxembourg, Luxembourg (Ukraine, 2022) – A Father, a Country, a Cracked Windshield
- Vengeance Is Mine, All Others Pay Cash (Indonesia, 2021) – Fighting Masculinity with Empty Fists
- Blaga’s Lessons (Bulgaria, 2023) – When Poverty Teaches Cruel Grammar
- The Captain (Germany, 2017) – When Power Finds a Uniform, Horror Finds a Host
- Monos (Colombia, 2019) – Chaos, Adolescence, and the Fog of War
- Dogtooth (Greece, 2009) – A House Built of Control and Delusion
- Balloon (Tibet, 2019) – Faith, Flesh, and Floating Freedoms
- Boy (New Zealand, 2010) – Growing Up Between Fantasy and Reality
- Moffie (South Africa, 2019) – Fear, Discipline, and Unspoken Battles
- Radical (Mexico, 2023) – Hope, Chalk, and Quiet Revolutions
- Kneecap (Ireland, 2024) – Soundtracking in Gaeilge a Post-Conflict Youth
- La Llorona (Guatemala, 2021) – A Haunting Reckoning
- The Gravedigger’s Wife (Somalia, 2021) – Love Buried in the Dust of Necessity
- So Long, My Son (China, 2019) – Time as a Wound, and a Witness
- Sauvage (France, 2018) – A Body That Refuses to Lie
- A Twelve-Year Night (Uruguay, 2018) – Silence as Resistance
- RRR (India, 2022) – A Revolution Dressed as a Fable, Roared as a Spectacle
- The Coffee Table (Spain, 2022) – A Sinister Moral Spiral
- Capernaum (Lebanon, 2018) – The City of the Forgotten
- Quo Vadis, Aida? (Bosnia and Herzegovina, 2020) – The Language of Powerlessness
- Riceboy Sleeps (Canada, 2022) – Migration is a Wound that Grows in Silence
- Conclave (United Kingdom, 2024) – Power, Secrecy and Solitude in the Shadows of the Vatican
- The Mole Agent (Chile, 2020) – Looking Closer at the People We Overlook
- There’s Still Tomorrow (Italy, 2023) – A Striking Portrait of Resilience
- Omar (Palestine, 2013) – Trust and Survival Under Occupation
- Flow (Latvia, 2024): Drifting Through Existence and the Poetry of the Unknown
- Retablo (Peru, 2017) – A Vivid Masterpiece of Hidden Stories
- The Devils’ Bath (Austria, 2024) – Unveiling a Dark Chapter of History through Suffering and Salvation
- Better Days (Hong Kong, 2019): Lost Youth and Unforgiving Consequences
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