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  • This Must Be the Place: A Queer East…

    This Must Be the Place: A Queer East…



    This is the first of three pieces published in collaboration with Queer East Film Festival, whose Emerging Critics project brought together six writers for a programme of mentorship throughout the festival.

    Qinghan Chen

    This year, Queer East presents a more defiant stance to the public. I felt it within the first three minutes of Takeshi Kitano’s Kubi, the festival’s opening film. When a headless corpse suddenly appeared on screen, I covered my eyes and nearly screamed out loud. In the next two hours, heads were severed with the flash of blades; homoerotic scenes were folded into the political intrigue. I closed my eyes more than once, retreating into the darkness, anchoring myself emotionally. When a disfigured head was kicked off-screen, the film ended. I fully understood what curator Yi Wang had joked about in his opening introduction: if you feel uncomfortable, please close your eyes.

    In the cinema, I never know whether each passing moment will shock or stun me. Moving images pour down like a waterfall, an overused metaphor for queer desire, yet they are still potent enough to shatter my boundaries. But I can choose to close my eyes. With this act, my attention shifts away from the images on screen and turns inward, toward my own body. As a result, I become more aware of my existence. It feels like my eyes are building a temporary shelter, guarding my perception and granting me respite. When I am ready, I can open my eyes and jump back into that fleeting in-between space between myself and the screen. Perhaps I could discover new interactions between films and space.

    I experienced a perfect accident after traveling an hour and a half to reach the ESEA Community Centre, where the short film programme Counter Archives was held. The screening room is a narrow space with a skylight, loosely covered by a piece of black fabric. Due to British summer time, the lingering daylight disrupted the images on the screen, making them blurry and erratic. Yet this imperfection created a unique feeling for me.

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  • Materialists — Every Movie Has a Lesson

    Materialists — Every Movie Has a Lesson







    MOVIE REVIEW: Materialists — Every Movie Has a Lesson























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  • The History of Sound – first-look review

    The History of Sound – first-look review



    When Lionel Worthing (Paul Mescal) and David White (Josh O’Connor) meet over the top of a piano in a Boston college bar, the spark between them is instant. One is a talented vocal student, the other a composition major preoccupied with recording and cataloguing the folk music of rural communities – their shared passion for song is what brings them into each other’s orbit, and the onset of the First World War is what cruelly divides them for the first time. While David goes off to fight, Lionel returns to his family’s farm in Kentucky, where the work is hard and honest. By the time they meet again, they’re both a little worse for wear. A sojourn to rural Maine to continue David’s folk recording project provides both with a new sense of purpose, and rekindles their tentative romance, but like all great ballads, there’s tragedy on the horizon.

    Oliver Hermanus’ sixth feature takes him to North America for the first time, casting two bona fide heartthrobs: Paul Mescal and Josh O’Connor. When The History of Sound was announced in 2021 it set the internet ablaze, with many excited about the prospect of a tender gay romance starring two of the hottest young actors in the industry – but the resulting film is perhaps more restrained and delicate, sparing in its sexual content, for better or worse. In fact, there’s something even a little distant about the film, in which Lionel and David’s romance amounts to a few months across several years, and much of the focus is on its aftermath. The film is more concerned with how this pivotal moment in Lionel’s life changed everything about the person he would become.

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    Josh O’Connor, seemingly incapable of delivering a bad performance, is wonderful and tragic as David, charismatic and glib and fantastically handsome. Who wouldn’t fall in love with him, or the way his tired smile never seems to reach his eyes? It’s a pity there isn’t more of him, and Mescal opposite is perhaps a little lost as Lionel, despite his best efforts to deliver a serviceable American accent and the charming chemistry between them. There’s just something a little too interior about his performance – it’s difficult to buy that his relationship with David really is as significant as the film wants us to believe it is. It’s also a little unfortunate for Mescal that he’s outperformed by Chris Cooper as an older version of Lionel; he delivers a searing emotional monologue in the film’s final act which provides some much-needed resonance. But to Mescal’s credit, his singing sequences are quite beautiful, as are O’Connor’s, and the folk soundtrack evokes Inside Llewyn Davis in its soulfulness.

    The film feels weighed down by some unnecessary sequences that don’t help to drive the story forward, occasionally forgetting that the crux of the film should be Lionel and David’s relationship and its long shadow; a sharper cut might prevent the film from sagging once the lovers part ways. While comparisons with Brokeback Mountain are inevitable among those with a limited understanding of queer cinema, The History of Sound has far more in common with Merchant Ivory – particularly The Remains of the Day and Maurice – in its pervasive melancholy and sense of profound regret at past inertia. It’s not repression that powers The History of Sound, but the tragedy of understanding something far too late to chase it. Its buttoned-up nature and chasteness might frustrate those hoping for a more salacious story, but Hermanus and writer Ben Shatuck (adapting from his own short story of the same name) have produced a unique and moving romance for those willing to listen.

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  • Romería – first-look review | Little White Lies



    In her Golden Bear-winning Alcarrás, Carla Simón meets a family standing on the brink of a monumental life change, chronicling the minutia of their lives as it begins to morph into something foreign. In Romería, this change lies in the past, where it remained flimsily buried until the curious hands of young Marina (Llúcia Garcia) came to pluck it back to the surface.

    The girl, raised by her mother’s family after becoming orphaned at a young age, just turned 18, and needs to rectify her birth certificate to include her biological father so she can qualify for a scholarship. This bureaucratic chore sees her travel alone from bustling Barcelona towards Vigo, a small city nested in the northwestern coast, where she is suddenly not only no longer alone but surrounded by dozens of family members she either has not met or has very little recollection of.

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    Romería stands for pilgrimage in Spanish, and the film is as much of a literal pilgrimage in Marina’s long overdue homecoming as it is for Simon herself. The semiautobiographical drama is set in 2004, and sees Marina try to make sense of this new expansive world suddenly engulfing her through the low-quality lens of a digital camera. The director zooms into crooked wooden alabasters and delicately swinging wind chimes, grasping at texture and sound with the voracity of those who understand the stakes of faded memories.

    Like in her two previous features, Simon is most interested in capturing the intricate fabric of familial relationships molded by the intimacy of time and suddenly reworked by life’s tricky, unpredictable hands. Similarly to six-year-old Frida in Summer of 1993, Marina has to make sense of the invisible strings connecting the new people that come flooding into her life as well as thread the foreign environment that has shaped them into being. Unlike Frida, however, Marina is on the cusp of womanhood and therefore privy to thornier, more elusive human complexities, and this is where Romería finds its anchoring emotional core.

    That is because both of Marina’s parents have died young, and not of complications of hepatitis like her father’s death certificate claims. The two, who suffered from heroine addiction, contracted AIDS at the height of the epidemic. Much of Romería is told through passages of Marina’s mother’s diaries from 1983, the pages at times made map, at others maze. As the words echo in the teen’s head, lingering in the air of the film through a poignant voice over, a reality long-buried begins to become clearer and clearer.

    The Spanish director broaches the still-present taboo of the virus in a crescendo. When some of Marina’s many cousins sneakily roll some joints in the labyrinthine underworld of the family boat, they make sure to ease away each other’s trepidations by remarking that a little bit of weed won’t turn them into their parents. Then the uncles and aunties ruminate over lost friends and family, ressusciating the dead through the power of collective recollection. The young fell like flies back in the 80s, they say, it was either “accidents, overdose, or AIDS.”

    But, despite a taste of confrontation when the film leaves the realm of the harbor and finally enters the family home and a brief, somewhat tonally misguided flashback, Romería is loyal to its sense of withholding almost until the very end. It is then, finally, that Simon reaches the grand apex of her journey of self-reflection, one that holds in the stunning clarity of carefully chosen words a moving encompassing of how one can only build a sturdy foundation for the future after lovingly repairing the unrectified cracks of the past.

    To keep celebrating the craft of film, we have to rely on the support of our members. Join Club LWLies today and receive access to a host of benefits.



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  • Monica Sorelle: ‘I’m working through my grief…

    Monica Sorelle: ‘I’m working through my grief…



    The politics of the film are impossible to ignore though, especially as those in power in the United States perpetuate falsities about Haitian immigrants and strip them of rights. Monica is, rightfully, baffled that she has to have this kind of conversation: “It feels so stupid to have to do this, but I also thought a lot about demystifying Haitian culture for a lot of people. Even though we have such large populations in major metropolitan cities, I feel like we’re underrepresented and a lot of what you hear about us is geopolitical tragedies and news from the island. In a way, I just wanted to talk about the culture I grew up in and the family members I know, just honoring them in a way that I don’t think they’ve been honored in cinema before.”

    Films like Fernando Frías de la Parra’s Ya no estoy aquí and Ira Sachs’ Little Men were influential to the approach Sorelle took with Mountains – the former in how to find “relatability in specificity” in its depiction of Monterrey and the latter in its “quiet beauty in approaching gentrification, power, and economic status” – but Italian neorealism also directly influenced its creation. “We’re watching, in real time, an entire city and neighborhood being changed before our eyes, so having a mostly realist approach was the best way to show how capitalism really sucks the magic out of everything.”

    “Haitians and other Caribbean folks are so magical. There’s a mysticality to our experiences and our spirituality, but I wanted to ground the film in realism to imagine that the only thing that existed for our lead, Xavier, was the pursuit of material success. We only lean into magical realism near the end to usher him out of that mindset,” she explains. That realism even ties into the way that language is approached in the film, with characters and actors actually speaking Creole like the Haitian immigrants in our fair city actually do. It’s something that Sorelle is conscious she could not have managed with a bigger movie, but the limitations of the microbudget feature did not stop her from making the film she wanted to make.

    “I was motivated by the personal ethos of the film and the small crew,” Monica says, noting that the community she built with this film is a grand part of what made the experience worthwhile. “Production was really mobile in case of anything, like if a neighbor passed by that we could interview. We kept our footprint small in the community, but there were things that happened that made shooting hard. We’d be on a demolition site and thought they were on break and in the middle of the dialogue, the work started up again and we’re having to scream at each other through the scene.”

    “We had to roll with those punches, but everyone showed up. Everyone who’s there, on screen or off, put their all into it because they believed in the story, and that’s indicative of the kind of community filmmaking that I hope to continue being a part of, even as I scale up. Maybe a smarter filmmaker would make something that can be shot in Belarus or something, but I’ve built a community in Miami and I’m in love with them and want to continue making films about us.”

    For now, she’s continuing to prep and create new work and, as she jokes, Monica is “pretty gagged” about her place in BFI’s Black Debutantes series, which she is thankful to Rógan Graham for putting together and placing these works in front of audiences in the UK. “I’m showing with so many heroes and elders that I look up to, like the fact that my name is anywhere near Cauleen Smith is amazing. Even with the constraints that these women had on their budgets, on their films, on their creativity, they were somehow still able to make groundbreaking work. I’m so proud to be standing arm-in-arm with these brilliant women.”

    Mountains plays at the BFI on May 29 2025 as part of the Black Debutants season.



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  • Thirsty — Every Movie Has a Lesson

    Thirsty — Every Movie Has a Lesson







    MOVIE REVIEW: Thirsty — Every Movie Has a Lesson























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  • László Nemes: ‘I wanted recreate the experience…

    László Nemes: ‘I wanted recreate the experience…



    The Academy Awards may be a glitzy party with an arbitrary approach to dishing out Oscars but, within the circus, are moments of gravitas. László Nemes is the embodiment of gravitas. His debut feature, Son of Saul, is a relentless immersion in the quest of a Jewish prisoner whose job, in 1944, is to clear Auschwitz’s gas chambers of the dead.

    Bodies – out of focus, naked and stacked high – are in Saul’s peripheral vision. This creates grief and empathy for a character who searches for reprise, despite the nightmarish horror all around. Seeing Nemes with his baby face and bullshit-free speech collecting the shiny Best Foreign Film gong is a positive omen for the future of this impressively serious Hungarian 39-year-old.

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    LWLies: How did you recreate the conditions of the extermination camps?

    Nemes: The film takes place in and around one of the crematoriums of Auschwitz, so we found the right location and building. It had all the levels of the crematorium, from the attic to the ovens level to the lower levels – the underground undressing room and gas chamber, outside the court of the crematorium and the outside. Everything was in one place so you could have a continuous experience filming between the one level and the next.

    And all the piles of bodies that you see in the background?

    I’m not going to comment on that. This is the secret of the workshop. I know how we did it but it has to remain a sacred thing when we’re talking about the dead. I don’t want to disclose too much about that.

    What are your thoughts on creative independence? Do you strive for it? If so, how?

    It’s scary how little we are allowed, as filmmakers, to have our own worlds created because of people who want to second guess the market but actually don’t know more about the market than we do. They try to say we should make this film so it looks like another film, which already had success. But filmmaking is about taking risks. If a filmmaker doesn’t take risks then cinema is dying. You can see how a sort of very static mindset has taken over European filmmaking and worldwide filmmaking.

    So how did you do it?

    Just stick to your ambition, then you wait until you get lucky and hope that the project doesn’t die within you. I think I got lucky. When I was close to not realising it – actually not making this film happen – the Hungarian Film Fund was the only organisation willing to support this film. Had they not done this, it would have been impossible to do this film.

    Did you come close to crying or did you cry at any point?

    No. Inside, yes, I still am.

    How close is the finished film to the vision you had before you made it? 

    Sixty per cent. I only think of the 40 per cent missing. I never think of the 60 per cent that I made happen.

    What was your full ambition? 

    To have it the same but better.

    Would that have been a technical change? 

    No, not technical. I’m the only one who knows but it just frustrates me. It’s not really an emotional change, it’s not the approach. It’s more the scope of it.

    And that still haunts you?

    Of course, that’s why I can’t watch the film, but I think in two years it’s going to be easier for me to watch it.

    Did you make Son of Saul because it was an issue you were obsessed with?

    Yeah.

    Has making this film changed the nature of your obsession?

    Yeah, it makes it a little bit easier to live with the thought of… I tried to communicate something that I had an intuition of, the experience of being a human in the midst of the extermination machine – something that hasn’t been communicated in cinema, the visceral experience of it. Not the external point of view, not the survival point of view, but something immersed in the reality of one human being with the limitations, the impossibility of knowing what’s going to happen. I wanted the imagination of the audience to recreate the experience of the camp.

    Did you always… because I read that some of your family members…

    People were killed in my family. It was not unusual for Jews to be killed. But it’s a very traumatic experience and I think it’s transmitted from generation to generation, in an almost genetic way. I wanted to make a film about that because people tend to consider the concentration camp as either something remote and abstract or historical, not really taking place here and now. Or in a very over-aestheticised fashion. I wanted to make it harder for other people to make films in the camp because it’s so easy to go there but it should be very hard to go there. You have to have the responsibility as a filmmaker to go there and talk about it. I wanted to bring the present of it, the here and now, and not this remote point of view.

    Have your family seen the film?

    My mother, my aunt, a few people. I made this for people who died in my family who have no trace of their existence apart from a few pictures. So many people died in terrible ways and they tried to erase even the fact that they existed by not even scattering their ashes. There’s something very… the destruction of people is something very… I’m very obsessed by it.

    What’s next for you?

    I have a project that takes place before the First World war; it’s the story of a young women in Budapest.

    Have you written the script?

    We have a script but it’s being rewritten and we are already working the preparation of the film.

    Does this symbolise that you’re moving on from…

    Yeah, I have to leave the subject. I don’t want to live in a crematorium forever.

    Son of Saul is released 29 April.



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  • Wes Anderson: ‘You’re hoping for the right…

    Wes Anderson: ‘You’re hoping for the right…



    Like many of your films, The Phoenician Scheme features a lot of fine art, and I liked that you show all the paintings in the end credits. How do you decide on the art you use in your work?

    Well, usually we’re making things for a movie and there may be some inspirations. We had these Russian forger brothers who worked on The Grand Budapest Hotel, and they did wonderful work, and they made a Klimt for us. They’ve also made other pictures for us: some cubist paintings that we had in the Henry Sugar movies we did, and they made me a Kandinsky that I have at home, all these fakes. And they’re wonderful fakes; they age them and they’re great.

    In the case of this film, I had the notion that I would like to use the real thing which you never do on a movie because, if you say, ‘We’re going to use a Renoir,’ well, it means that there’s a group of people who come with that painting, and there are rules, and you can’t get a light too close to a Renoir, and the temperature of the room and the dust level in the room has to be maintained, so it becomes an obstacle. And of course people don’t really want to give you their Renoir. But our friend Jasper Sharp, who’s a curator, we went about the process and we found pieces that were not too far away, that we weren’t transporting across the globe, so we borrowed things, and we did have a team of different security and different gloved people looking after them, and it was fine. It takes a bit of effort, it has a bit of cost, but it was a great thing because you could feel it on the set. These pieces never just appeared, they arrived with some fanfare and with a bit of warning. ‘Everybody, here’s the real thing.’

    The actors felt it. They were in the presence of these real pieces, and Zsa-zsa is a collector. He likes to own things. He’s a possessor. For instance, he gives his daughter this rosary, and we decided, ’Well, let’s use real diamonds, real emeralds, real rubies.’ We went to Cartier, and they made this piece for us, and they own it, but they loaned it to us. Every time Liesel is holding this in her hand, she’s holding however many thousands of euros of diamonds and rubies. It took Mia some time to feel comfortable, because it would break sometimes and it had to be repaired, but it was interesting and fun to do it that way, and I think they look better.

    As someone who is so particular about aspect ratios and film formats in your films, I’m curious to know if there’s any film formats you’d be interested in working with. VistaVision is having a renaissance at the moment…

    Well, I wanted to shoot on VistaVision.

    Oh, no way!

    We didn’t do it in the end because the logistics of it seemed to defeat us. At a certain point, we were just trying to make a certain budget work, but VistaVision was my first choice. What I actually am planning to do and just am doing some tests right now to determine is… so, I shoot on film. This movie is shot on 35 millimetre film, but as you know, 99% of the theatrical screenings in a cinema are a DCP, and the DCP is almost like you’re screening the negative. When you make a print, there’s grain in the print. So you have the grain from the negative and you have the grain from the print, and it’s not as sharp as the DCP. The DCP is as sharp as the original negative. I’ve watched my films as a DCP against the 35 millimetre film print, and the print is… it has the quality of film, and the film print is different. It has the magical thing of being a film print, but it doesn’t have the detail of the DCP. So what I’m going to try to do here is to make 70 millimetre prints from our 35 millimetre negative, which has been made into a 4K DCP, and see what that’s like because I think that that might be a kind of combination which hasn’t quite been done, and which might produce a very good film print.That’s a response to what you just said, which is not really an answer to your question.

    No, no, you did answer the question! That’s fascinating to hear – and it’s interesting given how many films shot on digital are transferred to prints nowadays. 

    Well the idea is you just shoot on 65 the old way, 65 millimetre and you print on 70, but maybe using the digital intermediate at 4K might match something like that… but anyway, I guess we’ll see. I probably will not accomplish the same effect, but it’ll be some other thing in between.

    And you always discover something from doing these experiments. Sometimes the things that you end up creating are not what you wanted to create, but they’re great anyway. 

    Yes. You’re hoping for the right accident.

    What a lovely way of putting it! Speaking of fathers and daughters, your daughter has a small part in this film, and I was curious to know if this was her idea or your idea?

    I think virtually every filmmaker’s daughter who’s ever been in one of their films, it was the daughter’s idea. [laughs] I was reluctant to put my daughter in a movie. But I’m glad I put her in because I love what she did.

    Oh, I loved what she did! She understood completely her role.

    She was very thoughtful about it and very focused, and it was a great experience for her, but you know, I don’t particularly think everybody needs to know that that’s who that is, but I guess anybody who’s interested will quickly figure that out. She loved doing it, though. I will say she wants to do it again.

    The Phoenician Scheme is rooted in the idea of legacy, whether that’s familial legacy or artistic legacy, and what we leave behind, and what is left to the wider world when we die. Not to sound horribly morbid, but I’m curious, is that something that you end up thinking about a lot?

    Let me think… I’ll say this: I have never made a movie where I would feel comfortable saying, ‘oh, that one was a mistake’. I’ve only made the movies I really wanted to make: my own movies. If somebody likes one and hates another, they’re still part of my family, and I just have to live with whatever they all are, how they are. I’ve always tried to treat them as a body of work to some degree, and even now we’re doing a thing with the Criterion Collection, they’re releasing my first 10 movies as a boxset. We’re doing a similar thing with the soundtracks, and we have the books about the films, and so on. So it’s something that I am conscious of and have been conscious of. I want these movies to all sit together as a set.

    After the event of my death, I don’t really know if there’s really much point, but I do think about it in relation to my daughter. She’s going to be the one who is responsible for this stuff and I want it to all be in order for her. And I feel like so many people’s work, my own and all my collaborators – and there’s a lot of collaborators and a lot of artisans of so many kinds, all these actors, my co-writers and directors of photography, and production designers and painters and sculptors and puppet makers – all this work is contained in these movies. I feel it’s partly my job to look after them.

    This ties into the exhibition that is happening at the Cinémathèque Français at the moment and that will be in London later in the year at the Design Museum, and making sure that this work isn’t lost to time like so much amazing art and so much amazing film history is.

    You know, the exhibition wasn’t something I particularly wanted to do because I knew it was gonna take some time. It’s too much trouble! But I’ve been saving all this stuff all these years. I’ve been storing all these props and pictures and all these puppets, and so every now and then someone would want to show them. I kept saying, ‘I need to be older for this,’ but then when the Cinémathèque wanted to do it we decided it was time. The Cinémathèque to me is something that’s important to support, and the fact they wanted to do this, turned out to be a way for us to get everything organised for it to be an ongoing thing, so it’ll go to London, and then it has other destinations after that. I was dreading the process because I just want to work on my movies! But then in the course of it, working with a lot of people who I know well, and then Cinémathèque and the Design Museum, it turned out to be a good experience. I was there yesterday, in fact, because I had an official task to do, and there were all these kids and students in there, looking at our puppets… there was something rewarding about it.



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  • 10 Iconic Movies That Help with Depression and Anxiety — Every Movie Has a Lesson

    10 Iconic Movies That Help with Depression and Anxiety — Every Movie Has a Lesson



    Feeling low, worried, or mentally drained? Sometimes, the most comfortable support does not come from a self-help book or medical session, but from a quiet evening with a powerful film. Believe it or not, movies can offer more than a distraction. They can be an emotional lifeline.

    According to Health Central, cinema has the unique ability to mirror our emotions and gently guide us through them. Whether it’s a heartfelt drama that validates your pain or a feel-good comedy that brings a much-needed smile, movies can help us cope and even heal. Watching movies that help with depression allows you to see your struggles represented on screen, validating your feelings and reminding you that you’re not alone.

    These films often explore important themes like human connection, hope, and inner strength, helping you process your emotions more gently and thoughtfully. In this blog, we will take you through 10 iconic movies that help with depression and anxiety. We will also find out how movies support mental welfare and why they become an essential tool in the self-care routine of many people.

    So, catch your favourite snacks, settle, and search for the treatment power of storytelling through the film!

    Essential Points Discussed: 

    Here’s what you’ll learn in this article: 

    1. Movies can offer a powerful emotional release, helping the audience process feelings linked to depression and anxiety.

    2. Watching relatable characters overcoming struggles reminds people they are not alone and healing is possible.

    3. Lighthearted or humorous films provide a healthy escape from stress and can temporarily lift mood. 

    4. Thoughtful storytelling in movies can encourage hope, promote resilience, and even motivate people to seek support.

    How Can Movies Help with Depression?

    WHO has stated that, approximately 3.8% of people experience depression, including 5% of grown-ups, 4% among men and 6% among females, and 5.7% of adults older than 60 years. 

    Movies can be powerful tools for emotional support, especially during difficult times. 

    While they aren’t a substitute for professional treatment, movies that help with depression can provide comfort, understanding, and even healing. Whether you are feeling nervous, isolated, or emotionally drained, the right film can help lift your spirits. Whether it is the story of flexibility, a character that you relate deeply to, or a light-hearted comedy that makes you laugh again, the right film can be a form of informal therapy during difficult times.

    Here’s how movies can help when you are struggling with depression, anxiety and loneliness. 

    1. Emotional Validation and Connection

    One of the most comfortable aspects of watching movies about depression and loneliness is the feeling of connection they provide. These films often portray characters that face equal emotional conflicts, such as isolation, grief, or anxiety. Seeing your experiences reflected on the screen can be incredibly valid – it reminds you of how you feel alone. 

    This can cause emotional resonance to create a sense of sympathy and connection that helps you to process your feelings more effectively. Students suffering from mental health issues such as anxiety and depression often struggle with their writing projects. In such situations, they prefer to reach out The Academic Papers UK to get plagiarism-free dissertation help. They have expert writer who can handle your long writing projects, and enables you calm your nerves to experience a smooth educational journey. \

    2. Stories of Hope and Resilience

    As per Psych Central, good movies that help with depression often tell the stories of victory over personal development, recovery, and adversity. Seeing the characters navigate the challenges and be strong on the other side, motivates the audience to catch hope in their lives. 

    These stories show that it is okay to struggle, and this treatment is possible. From small indie dramas to larger biopics, these films provide powerful reminders of human power and perseverance.

    3. A Healthy Escape from Reality

    Sometimes, a temporary escape is the only one that the mind needs. Movies on Netflix that help with depression are easily accessible and provide immersive experiences that allow you to overcome your thoughts for some time. This type of mental break can be a useful way to reset and recharge. Running into another world – even for just two hours – can provide space to breathe, calm your brain, and return to your life with a clear perspective.

    4. Mood Uplift Through Laughter

    According to Well Power, laughter really can be good medicine. Funny movies to watch when depressed offer a healthy dose of humour that can temporarily boost your mood. Comedies provide a mental break from intrusive thoughts and overwhelming feelings. They stimulate the release of endorphins that offer genuine relief from sadness or anxiety. When chosen thoughtfully, a light-hearted film can bring joy and laughter, even in the darkest moments. 

    Comedy infiltration provides a mental break from ideas and heavy emotions. They stimulate the release of endorphins for real relief from the natural feel-good chemicals, offering relief from anxiety. When chosen thoughtfully, a light-hearted film can bring happiness and laughter, even in the darkest moments.

    5. Encouragement to Reflect and Heal

    Many movies that help cope with depression are deeply introspective, encouraging viewers to reflect on their own emotions and life circumstances. Films with rich emotional storytelling can stir something within, making space for healing and personal insight. By watching a character grow and change, you may be inspired to do the same, whether it’s seeking help, talking to someone, or taking small steps toward self-care.

    Many movies that help cope with depression encourage the audience to reflect on their feelings and life circumstances. Films with rich emotional stories can stir within something, making it make place for treatment and personal insight. Seeing a character growing and changing, you can also be inspired to do so. 

    List of 10 Best Movies That Help with Depression and Anxiety 

    Finding comfort in cinema is a common way of dealing with the emotional climb, and the best movies that help with depression often do more than provide entertainment. They uplift, heal, and connect with the audience. These films have the power to reflect real-life struggles, offering a sense of hope, humour, or solidarity. Whether you are struggling with anxiety, feeling isolated, or simply need a mental break, a good film can create a meaningful difference.

    According to Talk Space, movies that help with depression and anxiety focus on the characters overcoming personal fights, giving the audience a glimpse of flexibility and recovery. Others, such as good comedy or up-to-date stories, create a sense of lightness and distraction, reminding us that small happiness also matters. If you are searching for movies on Netflix that help with depression, then you are in luck because there is a rich selection of titles that inspire true stories, from heart-wrenching plays to true stories.

    These good movies that help with depression often highlight topics such as human connections, purpose, and the importance of self-acceptance. Seeing your feelings on the screen can be deeply valid, and many times, surprisingly, treatment. And if you are just looking for a laugh, funny movies to watch when depressed offer a temporary escape and remind you of the mild side of life.

    Below is a carefully curated list of 10 movies that can lift your spirits, validate your feelings, or simply give your mind a break when you need it most.

    1. Inside Out (2015)

    Sometimes, the best way to comprehend mental and emotional health is through a child’s eyes. Pixar’s masterpiece Inside Out gives human-like personalities to sentiments like happiness, sorrow, anger, worry, fear and contempt. The movie encourages us to accept feeling bored or unhappy, and shows that experiencing sadness is essential for healing, growing, and moving forward.

    This icnic and robust drama film based on animation, adventure,  and comedy genres. This light-hearted film deeply helps you seek clarity and power when you are struggling with emotional health issues. It validates that despair and gloom have a role in emotional well-being and promotes healthy emotional expression.

    2. The Secret Life of Walter Mitty (2013)

    This is one of the best movies that helps with depression, stress and anxiety. Stuck in a rut, Walter Mitty daydreams of experiences and adventures until one day, he embarks on a real voyage of discovery. This movie is visually attractive and emotionally uplifting. It communicates to anyone who feels like life is passing them by and reignites the intrepidity to pursue meaning, purpose, and maybe even bliss and joy. 

    This movie is based on the genres of  Adventure, Comedy, Drama, while also encourages breaking free from anxiety-induced dormancy and welcoming the unknown with joy.

    3. Good Will Hunting (1997)

    Will, a janitor at MIT with outstanding and amazing intellect, conceals himself behind a wall of anger and irony due to deep-seated trauma. With the help of an empathetic and understanding therapist role played by Robin Williams, he starts to heal, feel and grow. 

    This powerful and eye-catching story touches on mental health, misuse, and the restorative power of kindness. This piece also validates the significance and value of therapy and human connection in healing emotional injuries and traumas.

    4. Amélie (2001)

    This iconic and award-winning movie that can help with depression, sets the stage in Paris to help the audience know the significance and value of human deeds in living a sound and meaningful life ahead. Amélie is a whimsical tale of a timid and shy young woman who discovers joy in assisting and helping others. 

    The film is filled with colour, pleasure, charm and a sense of delicate magic that makes the ordinary feel special. It reminds spectators that small acts of kindness can change lives, starting with your own. The visually rich and unconventional storytelling can ease worried minds and restore amazement.

    5. The Pursuit of Happyness (2006)

    The pursuit of happiness is a classic moral piece which is based on the true story of Chris Gardner. He struggled with loneliness and homelessness while trying to provide a better life for his son. 

    Will Smith’s raw, heartfelt performance depicts the grit it takes to endure hard times with dignity. This showcases that even the darkest times can lead to better days, healing wounds and smiling faces, inspiring resilience, hope, shine and growth. Students can write research papers on such thought-provoking themes and perspectives to assist people struggling with such emotional health issues. 

    6. Little Miss Sunshine (2006)

    This offbeat road trip movie follows a dysfunctional family supporting their youngest member’s dream of entering a beauty pageant. Filled with humour, awkward moments, and surprising depth, the film explores themes of failure, self-worth, and unconditional love. 

    This iconic masterpiece reminds you that perfection doesn’t exist and shows how even a messy family can bring healing. Your loved ones can offer real happiness, help you grow, and give you a place to rest when life gets tough.  

    7. Paddington 2 (2017)

    Are you struggling with gloom, sadness, and nervousness for so long? If yes, then watching this comedy film can ease your anxiety. Paddington 2 is a delightful film that radiates kindness, optimism, and charm. 

    It’s wholesome, funny, and filled with warmth, perfect for when you need a comforting escape. Its pure-hearted tone and gentle humour offer a cosy mental break during emotional low points. By watching this movie, you can cope with your everyday emotional health issues, disturbing your focus, clarity, and purpose. 

    8. A Beautiful Mind (2001)

    This powerful film chronicles the life of mathematician John Nash, who struggles with schizophrenia. With love, determination, and the help of those who believe in him, he learns to live with his condition and reclaim his identity and dignity. 

    It brings awareness to mental illness while showing that life can be meaningful, even when challenges don’t disappear. This movie that helps with depression allows you to learn self-care coping ways, mindfulness and therapeutic techniques to treat yourself in a better way. 

    9. Julie & Julia (2009)

    When life feels stuck, tedious and senseless, sometimes cooking, making, or just doing something new or creative can help. This dual-narrative movie tracks Julie Powell as she cooks her way through Julia Child’s cookbook while haggling with job pressure, stress and personal distrust and doubts. 

    Meanwhile, Julia Child’s own journey of self-discovery reminds spectators that it’s never too late to start life again. This type of approach facilitates finding joy in little actions and achievements and chasing personal desires as a path to recovery.

    10. About Time (2013)

    This romantic dramedy isn’t just about time travel. It’s about enjoying and appreciating the present. When Tim learns he can revisit past moments, he ultimately realises the value of living each day fully with a better hope and passion. It’s a gentle reminder to savour life’s little pleasures. Combining light romance with deep themes of mindfulness and gratefulness, ideal for nervous, anxious and hopeless minds. 

    Being a student struggling with such issues such as homesickness, loneliness, sadness, and despair is quite common. Such troubles can affect your mental state, physical health, as well as your educational journey. In case you are planning your thesis but feeling low, and unmotivated, acquiring services from the best dissertation writing agencies in the UK can help you complete your project. Meanwhile, you can book an appointment with a psychologist to better diagnose and treat your condition. 

    Can Movies Help with Depression?

    Absolutely, movies can be more than just entertainment; they can serve as a powerful emotional escape and even a form of informal therapy. When you are feeling overwhelmed by depression or anxiety, watching the right film can provide comfort, catharsis, and a sense of connection. Certain movies that help with depression offer relatable characters, uplifting stories, and emotional release, helping viewers feel less alone in their struggles. 

    Whether it is a hearty drama that validates your pain or a good comedy that brings a very important smile, movies can help us face, reflect, and even heal. Movies that help with depression often depict subjects of flexibility, hope, and change. These stories remind us that difficulty is a shared human experience – and that even in the dark moments is light. 

    According to Collider, streaming platforms such as Netflix have made it easy to access films on Netflix that help with depression. From Indie Gems to Classic Comedy, countless titles are available that talk about mental health, loneliness, and recovery topics. For those who feel isolated, movies about depression and loneliness can offer an emotional bridge, allowing you to reconnect with your feelings and see a way forward.

    Laughter is a natural stress reliever, and the right comedic film can feel like a comfortable friend in difficult times. Finally, while films are not a replacement for professional help, they can be a valuable part of your self-care routine. When you are depressed, our list of 10 life-changing movies to watch when you’re depressed aims to guide you to the title that calms, inspires, and supports you.

    What Is the Best Movie To Watch While Depressed?

    The Pursuit of Happyness is often recommended. This is an inspirational story of perseverance and hope that you can increase your mood during difficult times.

    Can Movies Help Depression?

    Yes, films can provide emotional relief, verification, and even negative ideas to provide treatment, motivation, and a temporary escape. Movies that help cope with depression often explore themes of resilience, hope, and transformation. These stories remind us that hardship is a shared human experience and that there’s light even in the darkest moments. 

    What Is the Movie About Struggling with Mental Health?

    A Beautiful Mind examines the challenges of living with schizophrenia and mental illness, which offers a moving illustration of flexibility and love.  

    What Movie to Watch When You Are Down?

    Inside Out is a great choice. This emotionally insightful yet light-hearted piece is perfect for moments when you feel less. This iconic movie offers relatable characters, uplifting anecdotes, and emotional release, allowing viewers to feel less isolated in their struggles and journeys. 

    Does Watching Sad Movies Help?

    Surprisingly, yes. Sad movies can provide emotional release, help you process emotions, and remind you of other similar struggles experienced by other individuals. On the other hand, humour also plays a significant part. Funny movies to watch when depressed cannot solve the underlying issues, but they can lift your mood and help you reset mentally. 

    Final Thoughts

    Although films cannot be a cure for depression, they can offer a very important spirit of comfort, hope, and emotional release. When you are feeling stressed or disconnected, turning to cinema can be a powerful form of self-care. The right film can validate your feelings, raise your mood, and slowly remind you that you are not alone in your struggles. 

    Movies that help with depression go beyond simple entertainment – they encourage emotional bridges and spark introspection and treatment. Whether it is a heartbreaking story of flexibility, a laughing comedy, or a cool reflection on loneliness, each film has the ability to calm the mind and soul. Remember, healing looks different for everyone. If you are ever uncertain as to whether you are depressed, then see our list of 10 life-changing movies to watch when you are depressed again. Remind you that these stories show that better days are possible, and even small moments of relief. And when in doubt, press the game. Sometimes, treatment begins with a story.



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