Some nights you turn to Netflix for a bit of comfort food, courtesy of a beloved movie you’ve already seen a million times. Other times, however, you’re looking for something a little more off the beaten path. Maybe it’s an offbeat indie comedy, a challenging documentary, or even a foreign film that widens your perspective on the world. Watching Legally Blonde for the 20th time is great, but if you’re going to pay $9.99 a month for Netflix (or let’s be honest, ask for your roommate’s password), you may as well use it to expand your horizons every once in a while. Here are the best indie movies on Netflix.
The best indie movies on Netflix
There’s not a lot to say about Boyhood that hasn’t already been said. It’s a masterpiece, an experience unlike any other, and one of the best movies of the century so far. Champion of the understated, director Richard Linklater casually follows the life of Mason (Ellar Coltrane) from childhood to college, checking in with his actors as they aged over a 12-year shooting process. In the Linklater way, he eschews grand, life-changing moments in favor of the everyday business of just living, the film becomes extraordinary in its ordinariness. This is one person’s story, and the beauty in it is that the narrative never focuses on anything other than that person becoming himself—which is, of course, both one of the most ordinary and the most beautiful things anyone can ever achieve. To say that Boyhood works only as an experiment would be shortsighted because while it does work as an experiment, it works as a complete and profound work of art on its own too. —Chris Osterndorf
2) The Invitation
If you missed 2016’s twisty The Invitation, you’re not alone. But you’re also in for a treat. Karyn Kusama’s thriller about a group of friends at a dinner party is simplistic in premise but precise in execution. It’s a movie so intimate, so perfectly claustrophobic, you’ll feel, almost like the characters in the movie, trapped by a kind of relentless dread while watching it. As the plot unfurls and the party stretches on, secrets and ulterior motives are revealed, all the way up to a breathtaking climax. Intense as the experience is, you may immediately want to watch it again, if not because it’s great then at least to make sure you got everything. —C.O.
Noah Baumbach has successfully usurped Woody Allen’s title as the greatest living director of New York comedies. His latest love letter to the Big Apple comes in the form of The Merowitz Stories (New and Selected), a thoughtful meditation on the challenge of letting the pain caused by a parent go. Dustin Hoffman’s Harold Meyerowitz is an aging sculptor, largely overlooked in his time. His children, played respectively by Ben Stiller, Adam Sandler, and Elizabeth Marvel, are all semi-dysfunctional, thanks to Harold’s over or under-involved parenting. As a comedy, it certainly isn’t a laugh riot, but it absolutely leaves an impression. —C.O.
4) Chasing Amy
Chasing Amyis so much better than every other movie Kevin Smith has ever made that it must have been the result of accidentally getting hit by lightning. A never-better Ben Affleck (yes, even better than in Gone Girl) plays Holden, a comic book artist who develops an attraction to fellow illustrator Amy (Joey Lauren Adams). There’s just one little problem. She’s a lesbian. Smith’s film has a lot on its mind—from the blurred boundaries between friendships to the mutability of sexuality—but at its core it acknowledges a simple truth: Love is hell. Salon’s Charles Taylor wrote that it depicts romance as a kind of “emotional anarchy”—one that nearly ends in an ill-advised threesome between Amy, Holden, and Banky (Jason Lee), who is struggling to come to terms with his sexuality. But it’s not without its hard-earned rewards. The bittersweet finale is one of the most powerful and honest I’ve ever seen on film. —Nico Lang
5) The Place Beyond the Pines
Though not as utterly soul-crushing as his breakout film, Blue Valentine, director Derek Cianfrance’s The Place Beyond the Pines is still a tour de force in sadness. Telling three different stories over two generations, Pines is a movie about the bond between fathers and son and how the choices we make resonate well into the future. Though it falls short of its epic ambitions, the film is a great throwback to the gritty American dramas of the 1970s—not to mention the rare “guy cry” movie, i.e., it has action but will also put you in touch with your emotions. Co-lead Bradley Cooper is good in the movie’s second section, but the film never quite gets over Ryan Gosling’s towering performance in the first. As a carnival bad boy skilled in motorcycle stunts, Gosling (reteaming with Cianfrance here following the success of Valentine) is the tattooed heart of gold at the center of this picture. —C.O.
6) 6 Balloons
In Marja-Lewis Ryan’s 6 Balloons, one long night tests the limits of compassion. It tells the story of Katie (Broad City’s Abbi Jacobson) a woman who’s trying to plan a surprise birthday party for her boyfriend. But as the day goes on she collides with her brother Seth (Dave Franco), a heroin addict who’s using again. “The loneliness inside those dark moments is almost more crippling… not being able to talk about the things; not knowing where to talk,” Ryan tells the Daily Dot. “If this isn’t your story, then maybe you can gain a little empathy for people who are experiencing this. And if it is your story, hopefully, you can feel a little less lonely.” 6 Balloons is very much about middle-class addiction, based on a similar night Ryan’s best friend (and the film’s co-producer) Samantha Housman experienced: Her brother, a lawyer, was addicted to heroin. —Audra Schroeder
7) Eternal Sunshine of the Spotless Mind
This film will resonate with anyone who’s wished they could just erase an ex from their memory, which sort of erases the “romantic comedy” part of it. Still, director Michel Gondry’s 2004 film is affecting more than a decade later for its portrayal of the grey depths of a breakup and balances the more depressing moments with surreal dream sequences and visually stunning flashes that show the beginnings of a relationship. —A.S.
Ennui, violation, ham-fisted vengeance: It all comes together in Macon Blair’s directorial debut, starring Melanie Lynskey and Elijah Wood as two amateur detectives looking for justice in a world gone mad. It’s a Netflix original and one of the best indie movies on the service. —A.S.
The famous Milgram Experiments tested one question: How far will you go to obey, even if it means hurting someone else? The results were shocking. In 1961, Stanley Milgram (Peter Sarsgaard) conducted a series of radical behavior experiments that tested the willingness of ordinary humans to obey an authority figure while administering electric shocks to strangers. In the first half of the film, it is shown how the experiments are conducted, with nearly every test subject succumbing to the pressure of the circumstances and administering shocks to a stranger, despite the stranger begging him to stop. Between the experiments, Milgram meets the Alexandra, the future mother of his children. —Clara Wang
10) Beasts of No Nation
Netflix’s first foray into prestige cinema, at least in terms of narrative filmmaking, was this child soldier drama from 2015. Upon its release, Beasts of No Nation immediately declared that in addition to giving you daily doses of ‘90s nostalgia, the streaming giant was committed to socially engaged stories too. Directed by True Detective’s Cary Joji Fukunaga and starring Idris Elba in what should’ve been an Oscar-nominated performance, this is an intense watch but also a rewarding one. If nothing else, it’ll make you aware of how few depictions of Africa we really see onscreen, and how much that needs to be corrected. —C.O.
11) City of God
This 2002 Brazilian film about growing up under corruption, poverty, and violence in Rio de Janeiro moves as fast as a Martin Scorsese gangster movie despite containing enough tragedy for 10 depressing documentaries. Director Fernando Meirelles (with help from co-director Kátia Lund) imbues the film with such a sense of gritty realism, it could only be based on real-life experiences. At the same time, the film is so highly stylized, it’s also a uniquely cinematic experience, whether you watch it at home or in a theater. Instead of being buried under the weight of these contradictions, City of God thrives on them. —C.O.
12) Win It All
Jake Johnson helms this film about a gambling addict and the duffel bag that starts the domino effect. Director Joe Swanberg follows up Drinking Buddies with another tale of a hapless guy in over his head and adds in some memorable scenes with Joe Lo Truglio and Keegan-Michael Key. —A.S.
13) Casa de mi Padre
The Western-comedy is a rich subgenre within the Western genre as a whole. Mel Brooks’ Blazing Saddles, for instance, is one of the best American comedies of all time. There haven’t been a lot of offerings in this tradition lately, and the ones we have gotten (The Ridiculous 6, A Million Ways to Die in the West) have been less than stellar. That’s what makes Will Ferrell’s Casa de mi Padre, from 2012, such a memorable outlier. As much a send-up of/tribute to telenovela cliches as Western ones, this story of a rancher (Ferrell) who goes up against a drug lord is told entirely in Spanish, with English subtitles. In a brilliant bit of casting, the film co-stars Y Tu Mamá También’s Diego Luna and Gael García Bernal, and was co-written and directed by Andrew Steele and Matt Piedmont, who’ve made a career of dissecting genre tropes on the IFC shows The Spoils of Babylon, The Spoils Before Dying, and the Lifetime original movie A Deadly Adoption. —C.O.
Director Pablo Larraín has described Neruda as an “anti-bio” of the poet Pablo Neruda. Indeed, the film, which stars Luis Gnecco as Neruda and Gael García Bernal as a cop on his trail, plays with biography and fiction, celebrity and politics. Neruda lived in interesting times and Larraín plays up the parties and speeches in stunning detail, balanced out by a noirish game of cat-and-mouse. —A.S.
15) To the Bone
It may be hard to convince yourself sit down for a harrowing story about a young woman’s struggle with anorexia. Despite To the Bone’s dour subject matter, Marti Noxon’s script has enough humor to act as a release valve. The performances from lead actress Lily Collins to supporting players Alex Sharp, Keanu Reeves, Retta, and Lily Tomlin are great. The story is based on Noxon’s past experiences and that comes through in the intimate and empathetic approach she takes. —Eddie Strait
16) Mr. Roosevelt
In her directorial debut, Noel Wells (Master of None, SNL) plays Emily Martin, a struggling YouTube-famous comedian who hastily moves back to her hometown of Austin and has to adjust to the new relationships around her—and the death of a cat. It’s a love letter to a time and place, though not exactly a love story. Emily is directionless, but her self-discovery includes some very relatable moments and a great Holly Hunter impression. —A.S.
Spotlight is a drama of the old-school model, bringing into comparison gems such as All the President’s Men. It follows the Boston Globe‘s Spotlight team as it exposes the numerous cases of child abuse and molestation by clergymen covered up by the Catholic church in Boston. The Boston Globe went on to win a Pulitzer Prize for their efforts, and the scandal ran so deep that the Archbishop of Boston was forced to step down. If you care about journalism, it’s a must-watch. —C.W.
18) Blue Is the Warmest Color
Steeped in controversy upon its release (and for good reason,) Blue Is the Warmest color is nevertheless a nearly unparalleled achievement in 21st-century filmmaking. Discussions about the male gaze and directorial ethics are sure to follow many people’s viewing, but we also don’t get many epic, three-hour lesbian love stories. There are elements of Blue Is the Warmest Color that still feel essential, if for no other reason than that we need more of what the film gets right, even while needing less of what it gets wrong. And of course, there are the performances from lead actresses Léa Seydoux and Adèle Exarchopoulos, who rightfully became the first actors ever to be awarded the Palme d’Or when the film premiered at Cannes. Playing the two halves of young couple Emma and Adèle, Blue Is the Warmest Color’s leading ladies are both so good, it’s not just that they have created an indelible cinematic love story—it’s as if they’ve reinvented the cinematic love story itself. —C.O.
19) Spring Breakers
Harmony Korine’s infamous crime drama about a group of four college girls who rob a restaurant to fund a debauched spring break trip has finally hit Netflix. Starring former Disney icons like Vanessa Hudgens and Selena Gomez, Spring Breakers can’t figure out if it wants to be a serious movie or a trashy exploitation thriller. Thankfully that means it’s packed full of nudity, sex, and even one oddly hot threesome with the grossest James Franco you’ve ever seen. —John-Michael Bond
20) Don’t Think Twice
Although it was a hit with critics, Mike Birbiglia’s Don’t Think Twice failed to become the crossover hit it should’ve in 2016. Using improv specifically to tell a story about the highs and lows of being a creative person in general, Birbiglia has made a mini-masterpiece, sure to resonate with anyone who has tried (and failed) to put their talent on display for the world to see. The film also gives us another powerhouse performance from Gillian Jacobs, who continues to be spectacular at playing damaged, complicated characters. —C.O.
21) The Trip to Spain
Most of us, at some point in our lives, have taken a long trip with a close friend. During the course of said trip, you probably had some laughs, saw some sights, ate some food, and occasionally, got on each other’s nerves. That’s what makes Michael Winterbottom’s 2010 comedy and its 2014 and 2017 sequels, The Trip to Italy and The Trip to Spain, such delights. Steve Coogan and Rob Brydon play fictionalized versions of themselves, and their dynamic is jokey and light-hearted yet competitive. As Coogan and Brydon make their way first around the English countryside, and in the installment available on Netflix, around Spain’s, they spend a lot of time looking at their own lives, and attempting to tackle the big questions. It’s also fascinating how from movie to movie, one man will be up, and the other down, and then it’ll shift. But these movies are never more at ease than when they are simply letting the two men riff in their own language, as close friends do. —C.O.
22) Mustang Island
At the start of Craig Elrod’s black-and-white indie drama, Bill (Macon Blair) has been dumped, and he’s not taking it well. He enlists his brother and friend to join him on a road trip to the South Texas coast to help win her back, but of course, things go astoundingly wrong. Some very dark comedy is drawn from their foibles, but Mustang Island also drives home the importance of having people in your life who get you. —A.S.
Milk is a sad movie because it shows you how hard the gay rights movement had to fight for the most basic respect. It’s a sad movie because the rights that were being fought for are still too often unrecognized in this country today. It’s a sad movie because Harvey Milk gave his life for what he believed in, and anytime a good man dies fighting for something he believes in, those that would carry on their fight must naturally mourn first. But it’s not an entirely sad movie because Harvey Milk also lived a life worth celebrating. —C.O.
24) Devil’s Knot
From director Atom Egoyan, Devil’s Knot tells the story of the child murders at Robin Hood Hills and the subsequent conviction of a group of teenagers who became known as the “West Memphis Three.” It’s the same story documentary filmmakers Joe Berlinger and Bruce Sinofsky told in their Paradise Lost trilogy on HBO. Though the film is neither as comprehensive nor as objective as the docs are (they cover the arrest of the West Memphis Three through their incarceration and the fight to exonerate them,) it does feature strong performances from a cast led by Colin Firth and Reese Witherspoon. —C.O.
25) Little Sister
It’s strange that Little Sister’s examination of Bush-era politics should feel so distant; the country has changed a lot in just under 10 years, and what once felt like national crises almost feel quaint in comparison today. Yet Little Sister’s greatest triumphs are interpersonal, not political. It’s a film about relationships, about how people deal with loss and trauma, about how people change while also somehow staying the same. This 2016 indie dramedy from Zach Clark was too little seen at the box office. Perhaps the premise, revolving around a goth nun who returns home after her Iraq war hero brother is disfigured in combat, was simply to kitschy for some people. But Little Sister is more than quirk or weirdness; it’s a lovely little character piece that is well-acted and smartly written, proving that Clark is a talent to watch. Plus, “goth nun”… come on, you’re kind of interested now, right? —C.O.
26) Frances Ha
Noah Baumbach is having an incredibly prolific late career—churning out Greenberg, The Squid and the Whale, Mistress America, Margot at the Wedding, and While We’re Young in an amazing decade-long stretch. During that span, he also made Frances Ha, a riff on Annie Hall as seen through the lens of Godard, Truffaut, and the masters of the French New Wave. Instead of watching a couple slowly drift apart, Baumbach tracks the dissolution of a best friendship between Frances (Greta Gerwig in her star-making role) and Sophie (Mickey Sumner). It’s not only a lovely Woody Allen homage but one of cinema’s best portraits of millennial disaffection to date. —N.L.
27) Y Tu Mamá También
This 2001 Mexican-set drama is about a steamy love triangle between Tenoch (Diego Luna); his best friend, Julio (Gael Garcia Bernal); and his cousin’s wife, Luisa (Maribel Verdú), who is dying of cancer. She accepts an invitation to go on a road trip with them to see a secret beach known as “Heaven’s Mouth,” and their journey quickly turns into a tangled mess of erotic fantasy. Fifteen years after its release, Y Tu Mamá También remains a one-movie sexual revolution. Watch it with someone nice and stay inside with a bottle of wine. —N.L.
28) She’s Gotta Have It
Dramatically deciding whether someone is right or wrong for you is a common trope in the dating world (and in romantic comedies), but having to choose between three people is another story. Directed by Spike Lee, She’s Gotta Have It follows Nola Darling (Tracy Camilla Johns) who is in the middle of choosing between three men on totally different ends of the personality spectrum. One man is a total narcissist, another a controlling alpha male, and the third a shy geek who seems the most genuine. Darling’s process of trial and error is pretty laughable, but it also leads her to discover much more about herself than she knew before. —Kristen Hubby
Carol is a devastating love story, but it’s also hopeful. The film stars Cate Blanchett in the title role as a ‘50s housewife who’s starting to come into her sexuality, and Rooney Mara as Therese, a young woman who falls for her. As the movie’s lush, gorgeous look washes over the characters, every glance, every gesture, every hint of longing becomes something profound. The story is familiar territory for director Todd Haynes, who also explored forbidden sexuality in “traditional” America with 2002’s Far from Heaven. Either one could rightly be called a melodrama, but while the former heightens emotions, the latter tempers them. Both films are haunting and beautiful, but Carol feels like the masterwork he’s been approaching his whole career. —C.O.
30) Hell or High Water
In the oppressive heat of West Texas a pair of desperate brothers decide to rob banks in order to pay off their mortgage. It’s a simple plan and one that might work if weren’t for the Texas Rangers on their heel or one brother’s reckless tendencies. Hell or High Water is a movie that lives in the little moments: Out of towners being schooled by an old waitress, brothers sharing a meal, partners bantering, and cops and robbers having standoffs. There’s a reason this movie became a sleeper hit at the box office and scored a slew of Academy Awards nominations. Times may be tough for the characters, but the audience reaps the riches. —E.S.
Adapted by Rees and co-writer Virgil Williams from Hillary Jordan’s novel, Mudbound traces the stories of two families during WWII, one white, one black. They intersect when the McAllan clan buys the farm the Jackson family has worked on as sharecroppers for years. It’s worth watching Mudbound for its devastating ending alone. It’s impossible to deny that Hollywood is better for taking a chance on filmmakers like Dee Rees and stories like this. —C.O.
While critics have almost universally praised the first half of Lion for its intense portrayal of Calcutta street life, there’s something kind of exploitative in the film’s focus on poverty. But the second half of the film, which focuses on a young man in Australia trying to find his way back to the home he doesn’t remember in India, Lion becomes something else entirely. The story’s hero, Saroo (Dev Patel), struggles to reconcile the privilege of his current life, mainly the love of his adopted parents (Nicole Kidman and David Wenham) and girlfriend (Rooney Mara), with the life he lost as a child. With a little help from Google Maps, he begins to obsessively search for the village he was born in. All that Googling might not sound exciting, and some of it is a little dull, but it’s contemporary story this hones in on globalization and technology. —C.O.
33) Blue Valentine
Blue Valentine is the kind of movie that’s so sad, it occasionally feels like it’s trying to rip your heart out through your chest. The film stars Ryan Gosling and Michelle Williams as Dean and Cindy, a couple whose relationship we see disintegrate as it cuts back and forth between when they first got together and their older, more damaged selves. Director Derek Cianfrance, who would go on to make The Place Beyond the Pines and The Light Between Oceans shot the flashback scenes in a kind of grainy, Instagram-worthy style that ultimately serves to make them more romantic, while the present-day scenes look sleeker and colder, reflecting a kind of harsh realness. Both performances are heartbreaking (Williams was nominated for an Oscar for hers), probably because the two leads actually spent time living together like a real couple between filming the scenes set in the past and the ones set in the future. By the time their characters had to break up, it feels all too real. —C.O.
34) Little Evil
Evil comes home to roost in Eli Craig’s horror-comedy Little Evil, which follows a stepdad (played by Adam Scott) and his complicated relationship with his stepson, who happens to be the Antichrist. Fun times. I don’t mean that sarcastically. Despite a few tense moments, the movie is more comedy than horror. Craig takes a tired premise and injects life (and plenty of jokes) into it. Aside from Scott, the pitch-perfect cast also includes Evangeline Lilly, Bridget Everett, Donald Faison, and Chris D’Elia. —E.S.
This film takes the oversaturated found footage genre and adds a little improvisation. An aspiring videographer named Aaron (Patrick Brice, who also directs) answers an ad to film a man named Josef (Mark Duplass), who lives in a remote house in the woods and says he’s dying of cancer. Josef seems like a normal, affable guy, but then he puts on a wolf mask and a series of manipulations begins. If you’re not a fan of the jump-scare, this film will be pretty unnerving; however, it’s employed so much it almost becomes comical. As we see at the end, Aaron wasn’t the first to answer Josef’s call. (See also: Creep 2.) —A.S.
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Editor’s note: This article is regularly updated for relevance.