Projektor

Projektor is our film publication dedicated entirely to international film.

The Best International Films of 2022

These are the best titles international cinema had to offer this year.

Christine Ko Interview – Director of ‘The Woman in the White Car’

“You don't need to reconcile with your immediate aggressors; you can find healing and compassion from people who've had similar experiences.”

by Xuanlin Tham

Adilkhan Yerzhanov Interview – Director of ‘Assault’

“Jokes may not work when you expect them. Humor in pure comedy is pretty predictable.”

by Renee Cuisia

So Yun Um Interview – Director of ‘Liquor Store Dreams’

“When you're young, you just see so many injustices and you just want to change the world somehow. I thought about how I could use the medium of films to really change people’s opinions.”

by Natasha Jagger

No Bears: Crossing the Border from Fear to Resistance

Filmed in secret, Iranian filmmaker Jafar Panahi's latest meta-narrative serves as both a political statement against censorship and a reflection on a career under siege.

by Aswathy Gopalakrishnan

Leonor Will Never Die: Creating a Language of Loss

In Martika Ramirez Escobar’s debut feature, cinema becomes an opportunity to negotiate grief, atone for mistakes, and celebrate life in the Philippines.

by Jason Tan Liwag

Ann Oren Interview – Director of ‘Piaffe’

“I think a lot of viewers understand image manipulation when they see it, but with sound, it's so manipulative. That started my wish to make a feature film.”

by Xuanlin Tham

Milcho Manchevski Interview – Director and Writer of ‘Kaymak’

“There is no such thing as a ‘realistic’ film. We always mediate reality to make a film.”

by Emil Hofileña

Piggy: The Horrors of the Fat Body

Piggy takes Carlota Pereda’s short film of the same name and expands it to examine the horrors placed on the fat body — both in and out of cinema.

by Jason Tan Liwag

Albert Serra Interview – Director and Writer of ‘Pacifiction’

"The film progresses, and it imposes its own logic on you, and you have no choice but to submit, to accept its influence."

by Patrick Preziosi

Park Chan-wook and Park Hae-il Interview – Director and Star of ‘Decision to Leave’

“This time around, I wanted to make sure that the audience will be able to really see the fundamental core that I wanted to convey.”

by Natasha Jagger

The Novelist’s Film: The Simplicity of Personal Art

South Korean auteur Hong Sang-soo continues interrogating his own attitudes toward art with another lowkey drama.

by Patrick Preziosi

Maximalism and Mythmaking: The Epic Cinema of S.S. Rajamouli

The RRR director may have a penchant for the loud and epic, but his indulgence always serves a purpose.

by Gerald Cajayon

The Enduring Filth of Seven Beauties

The Oscar-nominated film remains underseen, but it endures today as a portrait of the grotesque that exists in every society.

by Celia Mattison

Decision To Leave Adds Another Femme Fatale to Park Chan-wook’s Filmography

For the South Korean director, no one quite performs like a Lady Vengeance.

by Rory Doherty

One Fine Morning: On Common Tragedies and Everyday Heartbreaks

Mia Hansen-Løve’s latest feature explores universal tragedies in subtle but devastating ways.

by Raven Brunner

Pierre Földes Interview – Director and Writer of ‘Blind Willow, Sleeping Woman’

“I was interested in a whole world of emotions and feelings, and they're very fragile.”

by Raven Brunner

Mia Hansen-Løve Interview – Director and Writer of ‘One Fine Morning’

“Some films just want to show you how horrible life is, and that's not true for my films.”

by Raven Brunner

Border: How Trolls Remind Us Of Our Origins

With Ali Abbasi’s Border, we’re called to restore our connection with ourselves, our roots, and our land.

by Stephanie Cher

Hit the Road: When Setting Becomes Storytelling

In Panah Panahi’s stunning debut film, every location becomes a site of freedom, paranoia, and emotional catharsis.

by Emil Hofileña

Le rêve et la radio (The Dream and the Radio): Youthful Ambition

Having premiered at the International Film Festival Rotterdam, Renaud Després-Larose and Ana Tapia Rousiouk's new film celebrates bold filmmaking, from opening scene to closing credits.

by Maximilien Luc Proctor

Neptune Frost: Gospel for a New Century

This Rwandan sci-fi musical weaves political liberation and the struggle for revolution right down into its DNA.

by Ruairí McCann

Borja Alcalde Interview – Director of ‘La Sagrada Familia’

“What you get to see is the trust, respect, and love everyone has for each other. They feel they're in safe hands.”

by Rory Doherty

Eric Gravel Interview – Director of ‘Full Time’

“I like to find a way of using the cinematographic language to be at the service of the subject.”

by Rory Doherty

Matīss Kaza Interview – Director of ‘Neon Spring’

“We tried to balance between the cinematic and the authentic.”

by Rory Doherty

Marie Liden Interview – Director of ‘Electric Malady’

“It is about invisible illnesses. There are so many of these illnesses that are very hard to be diagnosed and understood.”

by Rory Doherty

Mother: Revisiting the South Korean Masterpiece

How does Bong Joon-ho's ode to motherhood fare in his stacked filmography?

Why Amélie Still Holds Up in the Digital Age

More than 20 years after its release, the French classic remains as relevant as ever.

by Scott Wilson

Medusa: Haunted Gazing and Holy Raging

Anita Rocha de Silveria’s stylish Brazilian horror has a lot to say about female and religious rage.

by Taylor Leigh Harper

Still Walking: On Food, Family, and Japanese Filmmaking

A necessary deep dive into the Western criticism of Japanese cinema.

Minnal Murali: The Essence of a Superhero

Finally, a superhero flick rooted in its community’s own struggles.

by Gerald Cajayon

Pastoral Realism of 1930s European Works: Let’s Move to the Country

A look into a unique era in filmmaking history.

by Patrick Preziosi

Great Freedom: The Queering of the Prison System

An Oscar-shortlisted Austrian drama about the bittersweetness of finding love in confinement.

by Gerald Cajayon

Philippine Cinema’s Tradition of Protest

The 1976 film Once a Moth is just one of many Filipino classics that protested martial law just by existing.

by Emil Hofileña

The Falls and American Girl: How to Do Pandemic Storytelling Right

Great pandemic storytelling requires striking a balance between inclusion and omission.

by Renee Cuisia

Wheel of Fortune and Fantasy: The Rise of Multiverse Dramas

It’s time we acknowledge that Marvel doesn’t have a monopoly on the multiverse.

by Renee Cuisia

Petite Maman: On Film Lullabies and Fairy Tales

Fairy tales for adults are like lullabies for children: at once devastating and comforting.

by Scott Wilson

Vortex: Gaspar Noé and The Denial of Death

The Argentinian filmmaker’s excellent study of aging has much in common with one Pulitzer-winning book.

by Bilal Zouheir

Representation in Cannes: Why Does Cannes Exclude Minorities?

98% of Palme D’Or winners are men, 94% come from the Global North, and almost 86% are White. We take a closer look at Cannes Film Festival's exclusive "club" status.

by Bilal Zouheir & Renee Cuisia

The Worst Person in the World: What We Don’t Talk About When We Talk About Coming of Age

I find great comfort in what coming-of-age stories can do to observe and capture vulnerable youth. But what follows all that anticipated and feared change?

by Taylor Leigh Harper

What’s a Projektor?

A new publication for international film.

Movies

Series

Lists

Chrome extension

Projektor

Browse by mood

Cord-cutting

About us

Newsletter

Contact us

© 2022 agoodmovietowatch, all rights reserved.

We are home to the best film and TV on popular streaming services. Supported only by readers like you and by public grants.

Privacy Policy

Terms and Imprint