The 2020s have already proven to be a rich era for cinema, with countless films making waves on the big screen and streaming platforms alike. But beyond the blockbusters and award darlings, there exists a treasure trove of lesser-known movies—hidden gems that showcase remarkable storytelling, inventive filmmaking, and unforgettable performances. These films may have flown under the radar, but they’re brimming with creativity and deserve a spot on your watchlist. Here’s a curated selection of hidden cinematic treasures from the 2020s that are waiting to be discovered.
These are the 50 Greatest Hidden Gems of the 2020s (So Far).
40. Strawberry Mansion (2021)
In a not-so-distant future, dream auditing has become a government practice, and citizens are taxed on their subconscious thoughts. James Preble (Kentucker Audley), a mild-mannered dream auditor, visits the eccentric Bella (Penny Fuller), an artist who lives in a house filled with VHS tapes of her dreams. As James delves into her subconscious, he uncovers a conspiracy and begins questioning his own reality. Along the way, he forms a bond with Bella’s younger dream self (Grace Glowicki) and embarks on a fantastical journey through the dreamscape.
Strawberry Mansion is a surreal, visually imaginative indie film that delves into the intersection of dreams, memory, and the predatory nature of capitalism. It has a million ideas, executes most of them fairly well, and a visual style reminiscent of Michel Gondry or early Terry Gilliam. It’s a tender love story, a sharp social critique, and an ode to creativity all rolled into one.
39. The Amusement Park (2021)
After Romero died, his estate went through all of his belongings and stumbled across a movie of his that hadn’t seen the light of day since 1975. Commissioned by the Lutheran Service Society of Western Pennsylvania as an educational film about elder abuse, The Amusement Park is a metaphor-laden, psychological horror about an old man (Lincoln Maazel) having a really hard time at, you guessed it, an amusement park.
There are scenes involving him getting his things stolen, being ignored or mistreated by people, not having enough money for things, being lost, having a hard time acquiring medical assistance and even being accused of being a creep because he showed kindness to a little girl.
It’s the least subtle thing Romero has ever done (and that’s saying a lot) but it might also be the scariest. Any other director would’ve recognized the assignment and turned in an educational film about how hard it is being old but Romero said fuck that and decided to turn it into a horror film. Which is far more effective. The only upside to him passing is the fact that this got to live. What a weird gem.
38. Candyland (2022)
Candy Land takes viewers into the grim and gritty world of truck stop sex workers, colloquially known as “lot lizards.” The plot centers around a young woman named Remy who, after being cast out from a religious cult, finds herself thrust into this harsh and unforgiving environment. As the story unfolds, the truck stop becomes a battleground for control, morality, and humanity. Candy Land is marked by its gritty realism, intense atmosphere, and strong performances, particularly by its lead actress. It’s a horror film that harkens back to a specific time in cinema when art met exploitation.
When genre films were Trojan horses filled with social messages but never felt like soapboxes. If you go in expecting a maniac chasing around hookers at a truck stop, you’ll be sorely disappointed. This is less of that and more of a dark exploration of human resilience and the complexities of life on the fringes of society. Its stark portrayal of its characters’ lives offers a sobering perspective on issues often left in the shadows, making it a significant addition to the genre.
37. Old Henry (2021)
Westerns are dead. If you’re a fan, you’ll be lucky to get just one a year and even then, odds are, it ain’t good. The bar has been lowered to such a massive degree recently, that merely being good enough, is enough to be considered one of the best of the last twenty years. You really have to dig to find the gems, which is why Old Henry flew under everyone’s radars. No one saw it and no one talked about it, despite it being the best love letter to the genre since Unforgiven. Set in the early 20th century, the film stars Tim Blake Nelson as Henry, a reclusive farmer whose quiet life is upended when he discovers an injured man with a satchel of cash.
This discovery triggers a series of events that reveal Henry’s mysterious past. With its gritty realism and moral ambiguity, Old Henry calls to mind the works of Ford and Leone, while maintaining its own unique identity but it really is, more than anything, a showcase of Tim Blake Nelson’s incredible chops. His performance is so good, it makes everything around it, almost perfunctory. Every time he is on screen, you are glued to his performance. Everything else is a bonus. A siege film with a great twist, an even better Tim Blake Nelson performance, and Stephen Dorff in bad-guy mode. The only thing that would make this better, would be an appearance from either Billy Zane or Eric Roberts.
36. Bob Spit: We Do Not Like People (2021)
Some movies are about punk rock and some movies are punk rock. Bob Spit: We Do Not Like People is a movie about punk rock and it is also a very punk rock movie. Neither the film nor its creator care if you like it and odds are, you probably won’t. It defies traditional storytelling. It blends biographical elements with surrealist humor, diving into the world of Brazilian cartoonist Angeli and his creation, Bob Spit—a punk antihero navigating a post-apocalyptic wasteland. The film is a love letter to underground comics and a meditation on the creative process that breaks every rule imaginable. It leaves in obvious mistakes, has a plot that is both indecipherable and brilliant at the same time, and has a bizarre sense of humor.
When Angeli decides to kill off his creation Bob Spit, the character decides to leave his fictional wasteland to confront his creator. While it does make numerous references to both, you do not need to be familiar with Brazilian culture or Angeli’s work to be in on the joke. The film is a bold, offbeat celebration of creativity and defiance. It’s a deeply personal yet universally relatable exploration of an artist’s relationship with his creations. While it may not suit all tastes, fans of alternative animation and punk culture will likely find it both entertaining and thought-provoking.
35. I’m a Virgo (2023)
Sorry to Bother You is easily one of the best debuts in cinematic history. Those of us who were on its wavelength were blown away and were eagerly anticipating whatever Boots Riley was going to do next, and he did not disappoint. I’m a Virgo is every bit as bold, surreal, and genre-defying as his debut but is better simply due to the fact that there’s more of it. Set in a fantastical version of Oakland, California, this mini-series tells the story of Cootie (Jharrel Jerome), a 13-foot-tall young Black man who has spent his entire life sheltered from society.
When Cootie ventures out into the world, he immediately becomes famous and the show navigates both the wonder and the frustration of a young man trying to navigate a world that both admires and alienates him. From superhero tropes to critiques of capitalism, the series cleverly addresses heavy topics in a way that’s accessible yet profound, all while telling a very humanist story. Satire works best with a strong emotional anchor and the story of Jerome, while fantastical, is still very relatable. In more ways than one. I’m a Virgo is a bold and ambitious series that won’t appeal to everyone, but for those open to its quirky, politically charged narrative, it’s a refreshingly unique piece of television. It’s Atalanta on acid.
34. The Painter and the Thief (2020)
Czech artist Barbora Kysilkova forms an unlikely bond with Karl-Bertil Nordland, a man who stole two of her paintings. Rather than seeking revenge, she asks him to sit for a portrait, leading to a transformative relationship for both. I have a hard time pulling the trigger on some documentaries simply because I hear the premise and think “There’s no way that can sustain 90 minutes” and most of the time I’m right. The Painter and the Thief is one of those stories. It sounds like, at most, 30 minutes of compelling storytelling and an hour of filler.
How could a conversation between an artist and a thief be interesting for more than a half hour? Because, as the old saying I just made up goes, “The subject matter may not matter but the subjects always matter.” The story isn’t as important as the characters. If the reader is invested in their journey, their struggle, it doesn’t matter what the journey is. The fact that an artist has a conversation with the thief isn’t inherently interesting. YouTubers do similar shit every day. But since the artist and the thief have such profoundly different but equally interesting lives, it makes their conversation the most engaging since My Dinner With Andre and almost as cathartic as The Act of Killing.
33. The Dissident (2020)
Journalism movies, if done right, are as thrilling as the best sports movies. The best ones are not only thrilling but are important historical documents. The Dissident is both. The film is a gripping and deeply unsettling documentary that examines the 2018 murder of Saudi journalist Jamal Khashoggi and the larger implications for freedom of speech, press, and human rights. With a mix of investigative journalism, expert interviews, and chilling digital forensics, the film not only reconstructs the events surrounding Khashoggi’s death but also explores the oppressive environment in Saudi Arabia and the global repercussions of authoritarian regimes silencing dissent. The film tackles a tragic, urgent story with global significance, shedding light on the dangers faced by journalists and dissidents under oppressive governments. What elevates it beyond a simple exposé, is how expertly it weaves together Khashoggi’s personal story, the broader political landscape, and the meticulous investigation into his murder, keeping the audience engaged throughout.
32. Kajillionaire (2020)
Miranda July may only have three movies to her name but her voice is crystal clear as a storyteller. She has a unique brand of quirk that’s similar to her contemporaries but is definitely her own. Kajillionaire is an offbeat dramedy about a family of small-time con artists whose carefully constructed life of deception is upended when a stranger joins their scheme. The film follows Old Dolio (Evan Rachel Wood), a socially stunted young woman raised in an emotionally detached environment by her eccentric and manipulative parents (Richard Jenkins and Debra Winger). When they meet the charming and free-spirited Melanie (Gina Rodriguez), their dysfunctional dynamic begins to unravel, forcing Old Dolio to confront her own desires and identity. For some, the film’s eccentricity and oddball humor may feel a bit too self-conscious or alienating but those on its wavelength (and those who appreciate amazing performances because everyone in the cast is firing on all cylinders), might find their newest obsession. It really is unlike anything else around.
31. Lowlifes (2024)
Nothing sounds less appealing to movie watchers than the words “Tubi original.” They might be kicking everyone else’s ass as a streamer, but their original content is subpar at best. I don’t think they’ve produced a single note-worthy film yet. Save for one. Lowlifes came out of nowhere and surprised everyone who saw it. This isn’t much since again, everyone avoids their original films but the ones brave enough to roll the dice were rewarded with one of the best horror films of the year. The plot synopsis on IMDb says “the survival instincts of a road-tripping family are put to the test when they have no other choice but to stay the night at a remote homestead” and honestly, that’s all you need to know going in. The film has more twists than a Chubby Checker concert, so going in blind is key to your enjoyment. Good job Tubi, you finally did it.
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What are some underrated, overlooked, or hidden gems from the first half of the 2020s that you enjoy? Maybe they’ll show up later in the list!
