Entertainment
6 Brilliant 2026 Movies No One Is Talking About
As we head into the final quarter of 2026, film fans and critics have already begun compiling their lists of favorites. So, too, have prognosticators started to whittle away at those films that will likely appear on Oscar shortlists next year, and the biggest box office successes of the year are already becoming clear. Lots of movies, lots of things being said about them.
Between all those blockbusters and critical darlings are lots of other films that no one is talking about. Alternative movies. genre movies, experimental movies, brilliant movies—you name it. These projects somehow failed to capture much of the public imagination but are readily available to watch right now. They may have fallen through the cracks, but these movies released wide in 2026 are brilliant, and no one is talking about them.
‘Blue Film’ (2026)
Given a proper wide release this year after screening at several festivals in 2025, Blue Film is a small-scale but massively effective character-driven thriller. The title refers to a term used in the 20th century to refer to taboo or pornographic films, and it likewise pushes boundaries and strains the comfort level of the audience. It’s a film made from a distinctly queer point of view and modern context, made all the more powerful because of it.
The film follows Aaron (Kieron Moore), a camboy whose night with an older client takes a turn when it comes to light that they have a shared history. Things go from awkward to disturbing from there. Blue Film digs deep into sexuality, trauma, and even darker subject matter, to great effect. It pushes all the buttons it means to, but not in a manner that is thoughtless or exploitative; rather, it’s thought-provoking and insightful, not to mention eerie. Viewers who haven’t seen Blue Film should do so unspoiled and with an open mind; the experience is worth it.
‘Carolina Caroline’ (2026)
Another thriller that premiered at film festivals in 2025 before being given a wider release this year, Carolina Caroline is a lovers-on-the-lam throwback. It calls to mind films like Badlands and Bonnie and Clyde, and while it doesn’t break any new ground in the subgenre, it doesn’t need to; instead, it succeeds thanks to the strong performances and dynamic chemistry of its two leads.
Both Samara Weaving and Kyle Gallner have carved out their own distinct niches in genre films, especially horror. They are electric together here as a gas station attendant and a con man who ride their own crime wave across the American South. Carolina Caroline has plenty of atmosphere and Southern Gothic thrills, but it’s the connection between Weaving and Gallner that helps it stand tall alongside the great films that preceded it.
‘The Christophers’ (2026)
Prolific filmmaker Steven Soderbergh seems to always have at least one film a year that flies under the radar, whether it be the 2021 crime thriller No Sudden Move or last year’s ghostly apparition film Presence. This year that film is the darkly comedic The Christophers, which was released back in April to little fanfare. It’s a quiet caper that’s again further proof of Soderbergh’s ability as a genre chameleon.
Julian (Ian McKellen) is a famed but faded artist, whose greedy children hire younger artist Lori (Michaela Coel) to surreptitiously finish his final paintings so they can sell them. The two, however, develop a friendship, leading to unexpected developments. The Christophers is a clever film in that it doesn’t get too clever with its premise, instead offering a cozy, intimate, and honest character piece. Soderbergh has a steady but unshowy hand behind the camera, Ed Solomon’s script has a deft wit, and McKellen and Coel have brilliant chemistry.
‘OBEX’ (2026)
For something completely different, there’s OBEX, a low-fi sci-fi adventure from surrealist director Albert Birney. The film’s black-and-white meets retro-gaming aesthetic will certainly scratch a certain nostalgic itch for viewers of a certain vintage, but there’s plenty of charm in the film for any age. OBEX operates almost exclusively on vibes, but those vibes have an old-school handmade appeal to them that makes the film an awesome analog adventure.
Set in 1987, the film is low-budget Tron meets Lynchian fantasy as gamer Conor (Birney) is sucked into the world of the titular video game where he must go on a quest to save his dog. Admittedly, OBEX is a movie with a niche appeal, so it’s no wonder that more people haven’t been talking about it, much less actually seen it. Still, it’s got more atmosphere, character, and sheer panache than something like Tron: Ares and 100% less Jared Leto. That alone should be enough to recommend it, especially if you’re into video games, sci-fi, or cinema as a whole.
‘Our Hero, Balthazar’ (2026)
The appeal of Our Hero, Balthazar isn’t so much niche as it is uncomfortable. A pitch-black satire that takes aim at mass shooters and performative activism, the film is the feature directorial debut of Oscar Boyson, who produced several features by the Safdie Brothers. Its subject matter and tone will make it an abrasive film for many viewers, but the performances by its lead actors should bring them back around.
Balthazar (Jaeden Martell) is a wealthy teen who gets his kicks making faux-emotional posts about gun violence. When he receives a message from Solomon (Asa Butterfield), an aspiring school shooter, he makes a trip to see him. The film is most pointed when taking jabs at toxic masculinity and male loneliness. It’s a black comedy for the perpetually online generation and influencer set. Martell and Butterfield both find enough dimension in their characters to not make them completely reprehensible; the film should likely develop its own cult following.
‘Redux Redux’ (2026)
A multiversal revenge thriller, Redux Redux is a true family affair. It’s directed by brothers Kevin and Matthew McManus, who both helmed the equally unique The Block Island Sound, and stars their sister Michaela McManus as a mother seeking retribution for the murder of her daughter. Redux Redux offers a sci-fi variation on a primal premise, using the genre to escalate its cycle of violence.
Irene (McManus) has been hopping between parallel universes, killing every alternate version of the man responsible for her daughter’s murder. Her single-minded, multiversal pursuit of vengeance gets complicated when she saves one of the killer’s would-be victims, and she begins to wrangle with the personal cost of her revenge. Redux Redux is simple but effective, thanks to the collective direction and performance of the McManus family. It’s a throwback to high-concept thrillers that should have more people talking, especially as sci-fi and the multiverse subgenre as a whole are experiencing something of a peak in popularity.
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