European cinema is experiencing a renaissance, marked not by the glossy marketing of Hollywood blockbusters but by a surge of films that engage with complex, often uncomfortable themes. As Hollywood continues to churn out sequels, superhero sagas, and slasher flicks, the most compelling narratives of the past year have emerged from Europe. These films are not mere escapist fantasies; they are politically charged stories that challenge audiences to grapple with moral ambiguity and unresolved questions, demanding a deeper engagement with the material.
Movies for Grown-Ups
This shift in cinematic focus is prominently showcased at the upcoming European Film Awards (EFA), set to take place in Berlin on January 17. The films vying for top honors hail from various countries, including France, Germany, Spain, and Scandinavia, and they share a seriousness of purpose that feels increasingly rare in mainstream American cinema. These films are not only formally innovative but also politically engaged, often unsettling in their narratives. For the first time in years, several of these films are also making waves in the wider awards-season conversation, including the prestigious Oscars.
Jafar Panahi’s Urgent Political Thriller
One of the standout contenders is Jafar Panahi’s Iranian-French drama “It Was Just an Accident.” This film masterfully intertwines dark comedy and political satire with a moral intensity reminiscent of a Hitchcockian thriller. The plot revolves around Vahid, a former political prisoner who believes he has identified the man who once tortured him. Acting on impulse, he kidnaps this man and takes him to the desert to bury him alive. However, Vahid’s memories are clouded by the blindfold he wore during his imprisonment, leaving him uncertain if he has the right person. As he drives through the city, picking up other former prisoners, the film evolves into a grimly humorous and unsettling road movie.
Made after Panahi himself endured seven months in prison for “anti-government propaganda,” the film serves as both a furious critique of authoritarianism and a darkly playful exploration of revenge and mercy. In light of ongoing protests in Iran and escalating state violence, “It Was Just an Accident” resonates with a painful urgency. Panahi has been sentenced in absentia to another year in prison and a two-year work ban, yet he has expressed his intention to return to Iran after the film’s awards run, regardless of the consequences.
Cinema at the End of the World
If Panahi’s film is a political thriller wrapped in a moral quandary, Oliver Laxe’s “Sirat” ventures into more surreal territory. The film begins with a father searching for his missing daughter, who has vanished into Morocco’s underground rave scene. As the narrative unfolds, the arrival of the military suggests a global conflict—perhaps World War III—though the film never explicitly clarifies the situation. The father, his young son, and a group of ravers flee into the desert in their camper vans, leading to a nerve-wracking blend of genres: part post-apocalyptic chase film, part existential thriller, all underscored by a relentless techno score from Berlin-based electronic artist Kangding Ray. Imagine “The Wages of Fear” filtered through “Mad Max: Fury Road,” yet devoid of cynicism and infused with a strangely spiritual, psychedelic essence.
This year’s EFA lineup also features films that adopt a quieter, more intimate approach. Joachim Trier’s Norwegian melodrama “Sentimental Value” and Mascha Schilinski’s German period epic “Sound of Falling” prioritize character and emotion over plot-driven action. Trier’s film centers on Gustav Borg, a once-revered film director (played by Stellan Skarsgard) facing a personal and creative crisis as he attempts to reconnect with his estranged daughter, now a successful actress. His misguided solution involves writing a film for her, hoping to revive both his career and their fractured relationship. The film flirts with industry satire, echoing the works of Bergman and Fellini, but its emotional core remains raw and personal, exploring how art can articulate what words often cannot.
History Seen Through Women’s Lives
In contrast, “Sound of Falling” operates on a broader historical canvas, tracing the lives of four generations of women on a rural German farm over a century of history. Its visual austerity recalls the works of Michael Haneke, while its generational narrative resonates with Edgar Reitz‘s “Heimat” films. However, by focusing on women’s stories—often overlooked in historical narratives—Schilinski breaks new ground. “Sound of Falling” feels both timeless and revolutionary.
These films, along with many EFA nominees, share a commitment to unapologetic political engagement. Petra Volpe’s Swiss drama “Late Shift” transforms the care crisis into a real-time ordeal, following a single nurse through an exhausting night on duty. Kaouther Ben Hania’s “The Voice of Hind Rajab” confronts viewers with the harrowing true story of a young girl’s murder in Gaza, refusing to allow for abstraction or distance. Even Yorgos Lanthimos’ “Bugonia,” while eccentric, uses its narrative of conspiracy theories and alien paranoia as a vehicle for social satire rather than mere escapism.
From Europe to the Oscars
The recognition of these intelligent, radical, and challenging films by the European Film Academy is not unprecedented; such cinema has always been integral to the EFA’s identity. However, what distinguishes this year is the extent to which these films are resonating beyond Europe. “It Was Just an Accident,” “Sirat,” and “Sentimental Value” are serious contenders for the Oscars—not just in the international feature category but also in races for best director and even best picture. Two EFA-nominated animated features, the hand-drawn French films “Arco” and “Little Amelie or the Character of Rain,” are also favorites among Academy voters.
Once dismissed as overly austere, too political, or too niche, European cinema is once again shaping the global conversation. As Hollywood continues to rely on endless franchises and recycled stories, audiences seeking meaning rather than mere spectacle are increasingly turning to European films for their rich narratives and thought-provoking themes.
DW, The Hollywood Reporter, and the European Film Academy are hosting a live, exclusive roundtable conversation with directors Jafar Panahi, Oliver Laxe, Mascha Schilinski, and Joachim Trier on Friday, January 16 at 3:45 pm CET. This event will be streamed live on DW’s History and Culture channel on YouTube.
