Tying together my admiration for quality cinema and cultural study, I love a good international series or movie. I grew up in a small suburban town and my window to the world took the form of a television screen.

I of course take programming with a grain of salt, as the media shows a very calculated and oft formulaic view of life – I cannot presume that all visual representations are an accurate portrayal of a particular group of people – even so, it’s a peek into a certain culture that I otherwise might not have had.  

If you enjoy learning about other cultures against the backdrop of a story, see a list of my top five picks below!

(Disclaimer: Most of these selections are not Black narratives.)

Dix Pour Cent A.K.A. Call My Agent!  (FRANCE)

“Dix Pour Cent,” which translates to “Ten Percent,” is set in Paris, France. The comedic series revolves around four film-star agents working at the fictional Agence Samuel Kerr (ASK). Following an unforeseen tragedy, the agents scramble to save their ailing agency, keep clients happily employed, and manage their personal lives amidst professional pandemonium.

The most captivating part of the show is that it features actual French actors, who play the agency’s “clients.” For each episode, a very noteworthy persona such as Isabelle Adjani is weaved into a fabricated storyline that holds the show’s principal characters at its center. The tactic is an ingenious way to showcase French culture and cinema.

I also like the series’ exploration of the dynamic between the agents as co-workers. It is interesting to see how their competitive agendas sabotage cooperative progress.  

Something that I infer to be either culturally distinct or unique to the world of talent agencies is the amount of melodramatic behavior exhibited in the office. The novelty of the kissing, yelling, jumping, slapping, etc. is hysterical.

My favorite character is Camille Valentini, who is loyal to a fault and earnest in her attempt to win her father’s approval. She’s a hardworking assistant who is passionate about progressing within the film industry but never loses sight of her empathy and compassion.

I also thoroughly enjoy the character of Andréa Martel. She is a headstrong talent agent who is dedicated to her career but struggles in love, and represents a less frequently portrayed lesbian character. Her character has not been constructed to appease the male gaze, as embodied in one of her best quotes: “I hate reducing women down to their relationships with men.” Me too!

Rounding out the cast is Sofia Leprince, the agency’s receptionist; she is an up-and-coming Black actress who remains outspoken about being pigeonholed into stereotypical roles.

All three seasons are currently available on Netflix U.S.

(Dix Pour Cent is recorded in French and Netflix provides English subtitles.)

Preamar (BRAZIL)

Set in Rio de Janeiro, this Brazilian series chronicles the downfall of wealthy investment banker, João Ricardo Velasco. His resiliency is tested as he and his prodigal family navigate the fallout.

I found this series, which originally launched in 2012, on HBO Latino about a year ago. Unfortunately it never made it past the first season due to a disagreement about production rights and it is no longer available on the streaming platform. While the legitimacy of the following is dubious, the full episodes sans English subtitles are available on YouTube.

The series particularly appealed to me as I lived in Rio for a short time in 2013. In comparison to the principal characters, I lived in the entirely different world of a favela while there; as a result, seeing an opulent Carioca family’s lifestyle and interaction with others at the crossroads of class and race is fascinating. Plus, it was nice to hear the beautifully melodic language of Portuguese again.

Living up to Rio’s scenic grandeur, the coastline is a compelling character of its own. We see lush pans of the beach and waves in between scenes. I appreciate that the show presents a satirical yet cinematic exposition of notoriously Brazilian themes like prostitution (specifically sex tourism), extortion, and drug trafficking.

My favorite character is Maria Isabel, João’s pretentious wife. As shallowly insufferable as she appears at the onset, when faced with desperate measures, she shows exactly how capable she is of stepping out of the rich housewife role; we see just how far she will go to preserve her family and lifestyle.

(The series was recorded in Portuguese and HBO provided English subtitles.)

Marie-Francine A.K.A. 50 is the New 30 (FRANCE)

I rarely sleep on flights and as such was happy to browse Royal Air Maroc’s international movie catalogue; I consequently caught this flick while flying back home from Morocco.  

This lighthearted comedy is set in Paris, where we see a middle-aged chemical researcher by the name of Marie-Francine Doublet lead a seemingly happy life, until her husband abruptly leaves for a younger woman. Soon after, Marie-Francine faces financial trouble and is forced to move back in with her parents. In spite of being fifty years old, she must contend with their meddlesome opinions, expectations, and restrictions. It’s a cute story about having to start over and learning to put yourself first in life.

My favorite character is Marie-Francine’s mother, Annick, who cannot help but treat her adult daughter like a child. Her spritely demeanor and obsession with online shopping make her an amusing character.

(The movie was recorded in French and English subtitles were made available.)

Yejaalo Amer (EGYPT)

I also stumbled upon this film while flying with Royal Air Maroc. Prior to Yejaalo Amer, I had never seen an Egyptian film. I was surprised to learn that the North African nation has a flourishing cinematic industry, playing host to the Cairo International Film Festival, the only festival in the Middle East to reach its 40th edition.

The unique flair of this movie was driven by the main character Amer’s affliction. Amer suffers from what is known as Obsessive Compulsive Disorder (OCD) in the U.S. The fears stemming from his obsessions continue to consume him, negatively impacting his relationships with his wife, son, neighbors and friends, until he receives a grave prognosis from his doctor. The hilarious and endearing storyline is intermittently interrupted and replaced with standalone scenes of cultural song and dance as they relate to the plot.

My favorite character would have to be Amer’s wife, whose name I do not recall and cannot find on Google (as I cannot read Arabic!). She loves him enough to endure his peculiarities and defends him against anyone who wishes him ill. An Egyptian artist named Bosy interpreted the character.

(The movie was recorded in Arabic and English subtitles were made available.)

Been So Long (ENGLAND)

I actually dislike musicals but this Netflix original was well worth it for me. I will admit that when a throng of extras initially broke out in theatrical dance, I abandoned the movie. A few weeks later, I gave it another shot and it turned out to be a charming and comical love story.

The film surrounds Simone, a repressed and overprotective yet loving single mother. Simone’s crazy-sexy-cool best friend, Yvonne, encourages her to push the boundaries of “adulthood” by going out and having fun. After some pushback, Simone finally concedes to a night on the town. She fortuitously crosses paths with Raymond, a vulnerable and handsome young man who is rebuilding his life after incarceration. The two grapple with mixed feelings and with the help of friends and family, ultimately decide to honor their hearts’ true desires.

Love, forgiveness, and friendship are the main tenets of the movie. As the film progresses we are introduced to lovelorn auxiliary characters that are in one way or another part of Simone and Raymond’s lives.

Yvonne is my favorite character because she is wild and unapologetic about what she wants and she is also a devoted friend.

I love British humor, and this movie definitely made me laugh out loud during its most farcical moments. I also like that we see Black love, which is probably even more of a rarity in British film than American film.

(The movie was recorded in English and Netflix provides subtitles.)