We’re past the halfway mark of 2026 so it’s time to look back at the movies which have already made our year.
The criterion for this list is as follows: the movies need to have been released in European cinemas – or online – from January 2026 onwards, regardless of whether some titles came out in the US last year.
Before we start our countdown to the best movie of the year so far, don’t be surprised if you don’t see the likes of The Blue Trail, The Voice of Hind Rajab, Sorda or Sirāt. They were released in mainland Europe last year and already made our Best Movies of 2025 list.
Without further ado, here are the highlights you should cross off your watchlist if you haven’t already.
20) Send Help
Kicking off our list we have a gleefully vicious R-rated original horror from the legendary Sam Raimi. Send Help ‘s setup is simple: Rachel McAdams stars as an underappreciated corporate researcher, while Dylan O’Brien plays the smug nepo-baby CEO who’s made her life miserable – until a plane crash leaves them stranded on a remote island. The office hierarchy collapses spectacularly. It’s hardly the most original premise, but McAdams and O’Brien have terrific chemistry, Raimi delivers all the over-the-top, campy gore you’d expect, and there are enough twists to keep you hooked throughout. The definition of a great popcorn movie. TF
19) I Swear
Based on the remarkable true story of John Davidson, who was diagnosed with Tourette’s syndrome as a teenager in 1980s Scotland, I Swear follows his journey from bullied schoolboy to the campaigner who would later receive an MBE for his advocacy. While some viewers may roll their eyes at its crowd-pleasing, feel-good formula, Robert Aramayo’s BAFTA-winning lead performance, alongside excellent support from the likes of Maxine Peake and Peter Mullan, elevates the film well above convention. It’s consistently funny, heartfelt and educational without ever feeling preachy. The abuse directed at Davidson after his involuntary outbursts at this year’s BAFTAs was a clear reminder that the prejudice he has spent decades fighting still exists – and exactly why stories like I Swear still need to be told. TF
18) Mother Mary
Writer-director David Lowery (A Ghost Story, The Green Knight) directs Anne Hathaway as the titular pop star desperately seeking a comeback. She shows up at the doorstep of her former friend and designer, Sam Anselm (Michaela Coel), and begs her to make a dress for an upcoming headline show. The outfit needs to embody Mother Mary’s reinvention. Then things get weird… Mother Mary is a dread-infused chamber piece which evolves into a Gothic ghost story, in which the metaphysical meets the spiritual, and eventually leads to the exorcism of mutual trauma. Resolutely strange and purposefully verbose, Lowery makes this the ideal psychodrama pairing for a warped double-bill with Peter Strickland’s In Fabric. More than that, he’s made the kind of bold, extravagant fare that will haunt you. Like a piece of shimmering red fabric. DM
17) Twinless
At first glance, Twinless looks like a quirky comedy about two strangers brought together by shared grief. But James Sweeney’s second feature film slowly reveals itself to be something much more layered – a sharp, emotional, bizarre and often uncomfortable exploration of loss, loneliness, love and the need to be seen. With Dylan O’Brien delivering perhaps the strongest performance of his career, and Sweeney proving himself as a genuine triple threat – writer, director and actor – this wonderfully strange, hilarious and heartbreaking film is an absolute must-see. TF
16) Jim Queen à la recherche de la Chloroqueer (Jim Queen and the Quest for Chloroqueer)
Presented in Cannes, this animated comedy is one of France’s breakout hits and definitely not one to sleep on. For their directorial debut, Nicolas Athané and Marco Nguyen tell the story of Jim, a gay icon on the Parisian scene whose world is turned upside down when he makes a fashion faux pas and starts understanding the offside rule in football… The worst has happened: he’s contracted Heterosis, making him the latest victim of a viral outbreak that turns gay men into heterosexuals. It’s now up to him and his newfound twink friend Lucien to search for a cure that can save the gays from extinction. Jim Queen shines a funny, irreverent and self-deprecating love letter to the LGBTQ+ community. It’s a COVID-indebted call to arms that confronts homophobia and the threats gay people continue to face in modern society. By satirically presenting heterosexuality as a virus, it dissects heteronormativity but never forgets to poke fun at the queer community, thereby levelling the playing field and flipping the bird to intolerance. A triumph. DM
15) Obsession
All-consuming desire leads to bloodshed and battered heads in Curry Barker’s twisted take on codependency. After Bear (Michael Johnston) wishes that his best friend Nikki (Inde Navarrette) would “love him more than anyone else in the world”, she immediately becomes possessed – and increasingly erratic in her desperation. This is the opposite of a love story – a gory expulsion of toxic limerence, dysfunctional expectations and emotional immaturity. Navarrette’s performance is a stand-out for its heart-wrenching viscerality; her strained smiles always at war with the distress of her lost self. Similar to Backrooms (more on that one later), Obsession hails a new era of horror – one that’s bold, innovative, and mined from the sinister subconscious of a digital age. AB
14) Amélie et la métaphysique des tubes (Little Amelie or the Character of Rain)
Based on the best-selling autobiographical novel “Métaphysique des tubes” by Amélie Nothomb, this Franco-Belgian animation film set in the 1960s follows a young girl living in Kobe, Japan – which is marked by the scars of war. Amélie is diagnosed at birth as a “vegetable”. The voiceover, however, tells us she’s something more… On her second birthday, an earthquake occurs that causes Amélie to awaken, break free from her vegetative state and react to everything around her. Directors Maïlys Vallade and Liane-Cho Han create a moving ode to childhood, cross-cultural bonds, and the power of Belgian chocolate. It’s an engrossing story about the magic of early childhood awareness but also a journey towards the realisation that you are not the God-like center of the universe but rather a part of a whole. Featuring beautiful 2D animation which combines European and Japanese styles, as well as a stunning score by Mari Fukuhara, Little Amelie or the Character of Rain shows once more how animation, so often dismissed as being “for kids”, can tackle some of the most complex emotions within deceptively simple stories. DM
13) The Invite
After her superb debut Booksmart (2019), and the controversy-riddled, not-so-superb follow-up Don’t Worry Darling (2022), Olivia Wilde bounces back with her third, and arguably best film yet, The Invite. A remake of Cesc Gay’s 2020 Spanish film Sentimental, it centres on Joe (Seth Rogen) and Angela (Olivia Wilde), a tired, unhappy couple who invite their upstairs neighbours, Pina (Penélope Cruz) and Hawk (Edward Norton), over for an evening together. Their guests’ enthusiastic sex life has long made itself known through the ceiling, but as the night unfolds, awkward conversation gives way to a hilarious and unexpectedly moving exploration of love, desire and modern relationships. TF
12) The Odyssey
He’s resurrected Batman, performed a dream heist, gone into outer space and won several Oscars for his three-hour biopic about the birth of the atomic bomb… What does Christopher Nolan do next? He’s embraced his inner Kubrick by fearing no scale nor scope and adapted the borderline unadaptable oldest known work of literature. As if that wasn’t enough, he shot it all in IMAX for a world first. While Nolan’s take on Homer’s foundational epic is without a doubt his most ambitious undertaking, and there’s so much to admire about this monumental technical achievement, it’s an uneven effort. The filmmaker’s proclivity for non-linear plot structures proves to be a thorn in his side, as The Odyssey is often crippled by clumsy editing choices and pacing issues in its first half. Additionally, more time could have been spent on Odysseus’ dangerous adventures to make thrills truly register. Once the film does coalesce into something more focused in the final act, you’ll have felt awe but not much in the way of character-driven emotion. Or fun, which Homer’s epic had plenty of. Even if The Odyssey isn’t the flat-out masterpiece many caught up in the hype are hailing, there’s no denying that only Nolan could have accomplished such bold cinematic event. DM
11) Marty Supreme
An adrenaline-charged descent into the chaos and catastrophes of chasing a dream, Marty Supreme is not for the fainthearted. Set amidst the post-war hubris of 1950s New York, it follows a young man named Marty Mauser (Timothée Chalamet), who will stop at nothing – not even a royally pissed off mafia boss – to become the world’s greatest table tennis champion. Imbued with Safdie’s trademark cinematic stress, it’s a non-stop anxiety-fest that will have you peeking through the palms of your hands whispering, “oh no”. But it’s also a riveting, sensorial character portrait that, while weaving mayhem, expertly unravels the American Dream. AB
10) The Drama
In this darkly comic satire, Kristoffer Borgli takes the twee optimism of romcoms and turns it inside out – exposing the gruesome guts of long term relationships. After a meet-cute in a coffee shop, Emma (Zendaya) and Charlie (Robert Pattinson) fall in love and get engaged. As the wedding looms, anxieties bubble – and a drunken game of ‘what’s the worst thing you’ve ever done?’ ignites their seemingly Insta-perfect partnership into instant hell. It’s a razor-sharp takedown of ideals in an age of social media fakery, shuffling between past and present to capture the layered deceits of our identities. You’ll laugh, squirm and find yourself contemplating: Do we ever truly know anyone? Even ourselves? AB
9) Mr Nobody Against Putin
Earlier this year, a Russian court banned the distribution of Mr Nobody Against Putin, after authorities claimed the Oscar-winning documentary promoted “negative attitudes” about the government and the war in Ukraine. If that blatant act of censorship doesn’t already pique your interest levels, we don’t know what will. Directed by David Borenstein and Pavel “Pasha” Talankin, the film follows Talankin – a defiant teacher who secretly captures footage of a school in Karavash in Chelyabinsk region. Recorded over two years, his images chronicle how the Putin administration attempts to control public perception of the ongoing war in Ukraine. The powerful exposé shows how pro-war propaganda lessons and “patriotic displays” have been introduced in classrooms after 2022, highlighting the “countless small little acts of complicity” Talankin mentioned during his Oscar acceptance speech. It’s a tale of indoctrination, radicalization and militarization, but above all one about the bravery of a man who is far from a “nobody”. He has offered not only a portrait of Russian daily life to Western audiences, but an insightful snapshot of ideological warfare that should unsettle us. Its Western echoes are clear. And alarming. DM
8) In die Sonne schauen (Sound Of Falling)
German director Mascha Schilinski’s first film, 2017’s Dark Blue Girl, was promising but nothing could have prepared us for Sound of Falling, which bagged her the Jury Prize at last year’s Cannes Film Festival. It’s a confounding coming-of-age drama which follows four generations of girls who are connected by a grim farm in the Altmark region. Shifting between four historical periods (pre-World War I; post-WWII; East Germany in the 80s and 21st century), it’s an ambitious and unnerving puzzle which deals with womanhood and unspoken generational trauma. As conversations and situations echo through time and certain ethereal elements creep in, Schilinski masterfully unnerves her audience through enigmas to better immerse them. Needless to say, this isn’t a light Friday night watch; but those seeking a novelistic arthouse gem that announces the arrival of a promising filmmaking voice would do well to seek this one out. DM
7) Backrooms
Set in the lonesome beige of ‘90s rural America, Backrooms follows an angry salesman (Chiwetel Ejiofor) and his traumatised therapist (Renate Reinsve) into a hidden space behind a furniture shop. Windowless and quiet – aside from the low frequency buzz of fluorescent lights – it feels like a regurgitation of reality. Somewhere where nightmares and nostalgia coalesce, and the thing we fear most lurks amidst an endless maze of carpeted rooms. Directed by 20-year-old Kane Parsons, it’s a remarkably creative and creepy achievement. One that – through the lens of internet culture – captures contemporary anxieties, and the ruminatory cycles we imprison ourselves with. AB
6) No Other Choice
Park Chan-wook rarely misses, and No Other Choice is another reminder of why he’s one of the best directors working today. This deliciously dark comedy follows a family man (played by Lee Byung-hun) who loses his job to automation and decides the only way back is to kill off his competition. Equal parts thriller, satire and absurd comedy, it’s wickedly funny while offering razor-sharp commentary on capitalism, job insecurity, and the dehumanising effects of modern work. Stylish, unpredictable and brilliantly crafted, it deserves far more attention than it’s received. TF
5) 28 Years Later: The Bone Temple
The second entry into the 28 Years trilogy is a bombastic, brutal film that holds a mirror up to British society – and clings to kindness in a world corrupted by rage. Following the events of 28 Years Later, we join young Spike (Alfie Williams) as he’s held captive by a violent, devil-worshipping gang known as the Jimmies. Meanwhile, Dr. Ian Kelson (Ralph Fiennes) forms a bond with a spine-ripping Alpha (Chi Lewis-Parry), realising the Rage Virus that’s ravished the British Isles may in fact be treatable. Through Nia DaCosta’s confident direction, the franchise is elevated into a swirling spectacle of euphoria and nausea; zombies replaced by the horrors – and hopes – of humanity. AB
4) The Testament of Ann Lee
Amanda Seyfried delivers a career-best turn in The Testament of Ann Lee as a preacher in the 1700s who leads the Shakers, a sect of singing Quakers. Her ferocious portrayal of religious devotion carries Mona Fastvold’s description-defying drama, which is co-written with her partner Brady Corbet (The Brutalist). It’s a historical biopic; a deeply unusual choreographed folk musical; a riveting oddity that understands spiritual acts of devotion can be manifested on screen through female empowerment. It won’t be everyone’s cup of tea – and will test patience due to its 137-minute runtime. But succumb to its feverish rhythms and accept its elusiveness, and The Testament of Ann Lee yields rewards. As much as it is a sizeable ask considering its length, watching it a second time will induce both dizziness and dazzlement. DM
3) The Mastermind
Josh O’Connor continued his rise to stardom this year in Oliver Hermanus’ period romance The History of Sound and Steven Spielberg’s Disclosure Day; but the superior film by a country mile is Kelly Reichardt’s The Mastermind. Billed as a heist film centering on a struggling family man who plots to steal artworks from a suburban gallery, it feels more like a slow-burn character study of both a wannabe thief and the so-called American Dream. Set against the backdrop of the Vietnam War, this naturalistic drama is a quietly engrossing observational masterpiece about the creeping realisation that you may be the architect of your own unraveling. For the man, through entitlement and sheer cluelessness for the man; for the nation, through blinkered ignorance reagrding a system which sets everyone up for failure. Elevated by vintage 35mm film grain and attention to period detail lesser filmmakers would have dismissed, The Mastermind proves why O’Connor is one of the most sought-after actors of his generation. On top of confirming that Reichardt is the most distinctive and consistent director of hers. DM
2) Pillion
Fasten your restraints: Harry Lighton’s Pillion is without a doubt the year’s boldest directorial debut – a disarmingly tender queer BDSM romance, that finds surprising emotional depth beneath all its cock-sucking, ball-gagging, boot-licking, kinky galore. It follows Colin (Harry Melling), an awkward and lonely young man whose mundane life is upended when he meets Ray (Alexander Skarsgård), the stoic, impossibly handsome leader of a biker gang. As Colin is thrust (quite literally) into a world of dominance, submission, kink, and biker culture, so too is the audience. It’s superbly acted, genuinely funny and somehow deeply moving too. Skarsgård in leather certainly doesn’t hurt either. TF
1) Kota (Hen)
While many will give the top spot to Christopher Nolan’s The Odyssey, our Number 1 pick for 2026 so far goes to a different odyssey, one also set in Greece. Taking the point of view of a hen escaping a battery farming factory, Hungarian director György Pálfi’s Hen plays out like an epic journey that isn’t just of avian proportions. Blending dark comedy with horror for his offbeat Chicken Run, the director and his cinematographer Giorgos Karvelas (who brilliantly captures a certain bird’s eye view of our feathered protagonist) show the Odysseus-like trials the resilient chick encounters. Foxes, hawks, lustful roosters, dogs and the cruelty of men, all paving her treacherous journey to sanctuary. The editing is terrific, the animal training borderline unbelievable, and the parable on the pitfalls of humanity is enthralling. Pálfi never tugs on this thread – or the anthropomorphic bathos – too much, even as parallels with the reality of globalization and human trafficking become evident. Comparisons with Viktor Kossakovsky’s Gunda, Jerzy Skolimowski’s EO or even Andrea Arnold’s Cow are inevitable; even if a more accurate companion piece would be last year’s Oscar-winning Flow. However, what Pálfi has created is very special in 2026. He has proven that sometimes the most thrilling and perilous odysseys don’t need the biggest scope, the greatest budget, or the most feverish hype. Sometimes they just need a plucky chicken fighting to survive. DM
There we have it. If you think there are some sizeable omissions, we assure you that the absences of Hamnet, Project Hail Mary, Disclosure Day and Toy Story 5 were intentional. Sound off in the comments below.
What did we miss and what were your cinematic highlights of the year?
Stay tuned to Euronews Culture to find out how many of our halfway mark picks make it to the End of Year Best Movies list. And make sure to check out our Best Albums of 2026… So Far ranking.