Every year, we at Greater Good give “Greater Goodies” to movies that illuminate human strengths and virtues. This year’s list includes films from all over the world, and many of them seem to share a special focus on love, courage, and connection. Is that an accident? Perhaps not. It’s quite possible that many artists around the world are trying to summon those qualities in the face of the “polycrisis,” a word coined by sociologist Edgar Morin to describe complex and interlocking political, social, and ecological adversities. Or maybe not. For some, these movies are just here to entertain and delight us as we go through our daily lives. Either way, we hope you find something on this list that could help you to become your best self.

The Purpose Award: The Alabama Solution

This heart-rending documentary (directed by Andrew Jarecki and Charlotte Kaufman) brings us deep into Alabama’s prison system, primarily as seen through the eyes of inmates. Their contraband phone footage documents horrendous conditions and violent abuse by prison guards. As prisoners and family members struggle to make the state accountable for violations and create a more just situation, they run headlong into discriminatory biases.

Early in his novel, Little Dorrit, Charles Dickens writes that “[l]ike a well, like a vault, like a tomb, the prison had no knowledge of the brightness outside.” It’s impossible to not agonize in such imposed darkness. But as we see in The Alabama Solution, the men find their own light, in solidarity, knowledge, and purpose in fighting for civil and human rights. It’s humbling to see these men, suffering and even in solitary confinement, keep kindling hope and inspiration for one another.

In his book Man’s Search for Meaning, Holocaust survivor and psychiatrist Viktor Frankl argued that our primary drive is in finding purpose, even in the most extreme circumstances—and subsequent research has found that purpose is crucial to survival.

Sometimes, that purpose can be self-improvement and education. As it turns out, the most successful rehabilitation program is earning a college degree while incarcerated. But inmates also find purpose in trying to transform the prison system. We have alternatives to the ways we currently see and treat people accused of breaking the law—and choosing those alternatives would require us to include their well-being as part of our societal purpose. — Ravi Chandra

The-Art-of-Surrender Award: Come See Me in the Good Light

Once upon a time, two poets fell for each other on a dance floor in Oakland, CA.

Andrea Gibson was the James Dean of spoken-word poetry, and Megan Falley was the scene’s red-lipped, intellectual pinup. Andrea eventually asked Meg to come live with her in Colorado. As relationships often do, theirs got rocky–and then, when they were on the verge of a breakup, Andrea was diagnosed with ovarian cancer.

Come See Me in the Good Light documents the joys and struggles of life with Andrea’s cancer. These days, big studios and streamers are not forking over millions to make documentaries about queer poets navigating cancer treatment. Come See Me in the Good Light got made because a bunch of Andrea and Meg’s friends signed on as Executive Producers, assembling the considerable requisite finances and relationships.

Together they made a subtly instructive guide to the art of surrender. Throughout the film, Andrea and Meg show us how honing a creative practice trains us to accept life on life’s terms. To feel it all. To let other people be part of it. Andrea and Meg share how they used poetry to survive suicidality and the torment of anti-fatness. We watch them use their creative skills to stay present and feeling in the face of bad news, dance parties, and a comically dysfunctional mailbox.

This sacred collaboration between Andrea, Meg, and their friends proves that all art-making can equip us to surrender to mortality and stay alive, all the way to the end. — Kelly Rafferty

The Extraordinary Courage Award: Homebound

Homebound is the story of two childhood friends who face the harsh realities of life in a small village in North India with remarkable courage and unwavering friendship. Shoaib, a Muslim, and Chandan, a Dalit (among the most oppressed castes, once considered “untouchable” by society) are both exhausted by their daily encounters with caste and religious discrimination. They try to join the police force because it appears to be their only path to the dignity they have never known.

But life has other plans, as a broken examination system and the sudden COVID-19 lockdown bring their dreams to a halt.

Inspired by a 2020 New York Times article by Basharat Peer, the film reflects the struggles of millions of migrant workers in India who were devastated by the nationwide lockdown. Work had disappeared overnight. Many had no means of remaining in the cities, and transportation home was nonexistent. With no options left, many began walking back to their distant villages, braving the blazing summer heat on foot, much like Shoaib (Ishaan Khatter) and Chandan (Vishal Jethwa). As the story unfolds, we witness up close the painful uncertainty of finding one’s way back home amid a global pandemic.

What makes Homebound so powerful is the many forms of courage it reveals: the courage to dream big despite overwhelming obstacles; loyalty to one another across social divides; the willingness to leave the familiarity of the village to build a life in an unfamiliar city; the bravery to risk everything to return home with only the slimmest hope of safety; the strength to endure a journey few of us can imagine; and the resolve to embrace one’s social identity and shed guilt and shame that were never theirs to carry. Even as the journey takes an unimaginable toll, they continue on their path, one step at a time. — Aakash A. Chowkase

The Embrace-Your-Demons Award: KPop Demon Hunters

Superstar singing group by day, demon hunters by night—this is the double life of the KPop trio HUNTR/X. Generations of women have occupied these roles, using their singing voices to fight demons who prey on human souls. Now, it’s Rumi, Mira, and Zoey’s turn to carry this legacy.

When a new boy band, the Saja Boys, hits the scene, HUNTR/X realizes they are more than just cute competition…they’re actually demons, and stealing the souls of the HUNTR/X fans!

Thus begins a battle between good and evil, both on-stage and off. But another battle is coming to a head. You see, Rumi has a secret… one that could change everything. Keeping this secret strains her relationships with her friends, her fans, and (most of all) herself.

As the members of HUNTR/X continue their quest to take down the Saja Boys, Rumi’s internal conflict also comes to a head. Anxiety and shame cause her to lose her voice. She self-isolates from her friends, who become increasingly worried.

We see that hiding the messy parts of yourself works…until it doesn’t. Eventually, you break. And, like Rumi, you have to decide if you will embrace all of those broken parts or let them stay a mess. The ultimate message? Accepting yourself, demons and all, is how we thrive. – Mariah J. Flynn

The Ordinary Courage Award: The Librarians

“I never imagined what’s happening right now could ever happen,” says an anonymous librarian at the start of The Librarians, directed by Kim A. Snyder. “We just never imagined we would be at the forefront. We’re not necessarily supposed to be seen and felt. We’re stewards of the space, stewards of the resources.”

This documentary follows public and school librarians in Texas, Louisiana, Florida, and other states as they battle in a quietly principled way against MAGA-fueled book bans and other forms of censorship. The books targeted include histories of slavery, the Ku Klux Klan, and desegregation, as well as any book about gender and sexuality.

I watched The Librarians with my partner Michelle, who is a public librarian. To her, book bans are just one front of the assault on libraries, which are facing profound budget cuts at just the moment when they’re besieged by every social problem facing American society. Every day, librarians encounter patrons with serious mental illness, children and the elderly needing social services, immigrants trying to navigate an overly complex system, unemployed people seeking jobs who have no computers at home, and much more.

“Going into this field is like getting into any relationship: you never know how fierce you’re going to have to be,” she told me afterward. “I have a ton of respect for the commitment of so many of my colleagues. And just as much respect for the ones who have had to walk away from the abuse to retain their health and their sanity.” I have a feeling many teachers, doctors, nurses, and journalists would say the same thing.

The Librarians ultimately becomes a chilling portrait of the rise of fascism in America—but the most important thing about this documentary is that it shows how many ordinary women (and some men) are being drawn into a struggle they never expected and would never have chosen. Their ordinary courage is an example that many of us may need to follow in the coming years. — Jeremy Adam Smith

The Connectedness Award: Little Amélie or the Character of Rain

Have you ever felt that you were the center of the world? Little Amélie or the Character of Rain explores that feeling through the life of Amélie, following her from infancy through childhood, and tracing the inner life of a child who experiences the world with overwhelming intensity.

Directed by Maïlys Vallade and Liane-Cho Han and based on a novel by Amélie Nothomb, it’s a portrait of what it feels like to be a child–not the sentimentalized version, but the real thing, in which one is the absolute center of the universe and hasn’t yet learned otherwise.

I watched this movie with my kids and I felt kind of like a kid watching it, growing at an accelerated pace through the phases of childhood.

Amélie says, “When you are three, you see everything, and understand nothing.” It’s a lot to carry alone. And when her first taste of white chocolate welcomes the divinity of momentary self-annihilation, it’s powerful. And so are the first experiences of life: one’s first time being seen, the visceral, vibrant colors of spring; the wonder of animals, books, a spinning top, deciphering your name and what you might become.

For much of the film, Amélie experiences herself as godlike and refers to herself as God. And aren’t we all God at some point in our childhood–full of power, possibility, the absolute center of everything else? It’s a terrific, terrible feeling–and it’s linked to loneliness, anxiety, and depression. As Amélie weathers beauty, grief, love, and loss, she learns that she is not the center of the world–and that our connection with others is what gives life meaning. — Lauren Lee

The Prosocial Deception Award: Rental Family

Rental Family is about a small company in Japan that creates artificial family situations in service of various emotional or practical agendas. If that sounds weird to you, then you stand to learn a lot from this story.

“We sell emotion,” explains the boss, Shinji Tada (Takehiro Hira). “We play roles in clients’ lives. Parents, siblings, boyfriends, girlfriends, best friends. And help them connect to what’s missing.” He adds: “Mental health issues are stigmatized in the country. So people have to turn to other things, like us.”

Shinji is trying to recruit struggling actor Phillip Vandarpleog (Brendan Fraser) to be the “token white guy” on the team. After Phillip accepts the job, one woman hires him to serve as an affluent white dad so that her biracial, “illegitimate” daughter can get into a good school. As Phillip and the child develop a connection, the storyline goes to a heartbreaking place—and raises questions about the morality of what they’re doing.

Indeed, as the story progresses, the characters make mistakes as well as some pretty unethical decisions. But what’s most interesting is how Rental Family leads us to accept that it’s sometimes necessary to lie to ourselves or others in order to achieve happiness. And at the same time, the movie shows that lies can have serious consequences. Rental Family doesn’t try to resolve that contradiction; it just allows us to see that it exists.

The question at the heart of the story is: How do we tell the difference between lies that are selfish and antisocial—and deception that is prosocial and kind? As the characters struggle for answers, Rental Family asks the audience to find their own. — Jeremy Adam Smith

The Melancholy Love Award: The Secret Agent

Kleber Mendonça Filho is Brazil’s leading filmmaker, and his latest work, The Secret Agent, is a nominee for this year’s Academy Award for Best Picture.

The film is primarily set in 1977 Brazil, a time of “great mischief,” as the film tells us, defined by corruption, state-sponsored violence, and dictatorship. Armando, brilliantly portrayed by Best Actor nominee Wagner Moura, is a research scientist with a big soul and warm heart.

At the beginning of the film, he’s also on the run from assassins, for reasons we only later learn. Marcelo’s son is tellingly obsessed with the poster for 1977’s hit film Jaws, in which a giant shark courses upward from the depths toward an unsuspecting swimmer. The poster represents the reality and the fear of violence that surrounds this family.

One of my favorite scenes comes early in the film, where he meets the residents of a house run by Dona Sebastiana (Tânia Maria), a wise, generous 77-year old who has seen it all. As she takes him under her wing, Armando adopts the name Marcelo to live under a false identity.

Even in the stress of the situation, Marcelo still greets every individual as precious, emphasizing the loving, almost doting quality of Brazilian culture, one mixed with saudade, the Portuguese word for tragic melancholy, longing, and also acceptance.

Through many twists and turns, The Secret Agent reveals the real secret agent that anchors all our lives: love, which can bring ripening, rest, safety, and healing. This film will leave you determined to love every person through difficult times. — Ravi Chandra

The Greater Goodness Award: Superman

Over the past quarter century, it’s been something of a trend to turn Superman into yet another violent, grim, dark superhero. When Superman battles General Zod over Metropolis in the 2013 movie Man of Steel, thousands are killed—and Superman ultimately murders his enemy.

To me, that’s not what superheroes are supposed to be about. These are fantasies about people with power being good; these stories are ideals of how people with power in real life are supposed to behave. If you turn Superman into Donald Trump (as they did with Homelander in the Prime TV series The Boys) then you’re reflecting the real world, and you should be entering the savage land of satire.

There’s nothing satirical about the 2025 Superman movie, written and directed by James Gunn. It’s just sincere, good-hearted, silly fun.

Exhibit A: In the movie, Superman (David Corenswet) saves a squirrel from sure destruction. I’ve read that Gunn got pushback on that scene from test audiences and he kept it anyway—and he was right to do so, because it really draws a line of demarcation between his Superman and recent iterations of the character. Yeah, it’s ludicrous, but more than that, it’s good. To this Superman, all life is precious.

Exhibit B: Krypto the Superdog. Every single scene with this dog who has the powers of Superman is delightful. Krypto is a GOOD DOG, and is anything better than a good dog? Reader: No, there is not.

Please don’t approach this version of the Superman myth expecting an intellectually stimulating evening. What you’ll get instead is a viscerally relatable vision of goodness that just might make you feel a little bit better about the world.

As Superman says at the film’s conclusion: “I’m as human as anyone. I love. I get scared. I wake up every morning and despite not knowing what to do, I put one foot in front of the other and I try to make the best choices I can. I screw up all the time, but that is being human. And that’s my greatest strength.” — Jeremy Adam Smith

The Braver Love Award: Together

With marriage rates declining among Gen Z and millennials, you could say we’re suffering from a generational failure to commit. That’s the theme of Together, a body-horror film from Australian director Michael Shanks.

This flick stars Tim (Dave Franco) and Millie (Alison Brie), a long-time couple who are failing to tie the knot. But when they move out to a rural community to start a new life, they happen upon a supernatural force that seems intent on bringing them together in a way that is frighteningly literal.

Together is on its surface a sometimes-grisly thriller that aims to shock its audience with imagery of two humans slowly being physically fused together. But beneath the macabre elements hides a smart and compassionate look at couples who are afraid to truly open up to each other and take the next step in their lives. 

There is perhaps no theme that animates more fictional stories than that of love. The quest to understand why and how we’re drawn to each other is eternal. From the tragedy of Romeo and Juliet to the endless romantic comedies we find on streaming services, there are a million different stories to be told about why people fall in love with each other.

Together offers an unconventional look at what is perhaps the most powerful force in the world and challenges its audience to rescue themselves from aimless relationships. Taking the leap of faith into committing to a life with someone else can be scary, suggests this movie, but being too cowardly to do so can create a much more horrifying outcome. — Zaid Jilani