Staff Picks: The Stories of Immigrants
Following recent disturbing events in which American Immigration and Customs Enforcement continue to violently target peaceful immigrants and U.S. citizens alike, the country remains concerned with the uncertain times to follow. The Independent Magazine stands with immigrants in the United States and around the world. In this sentiment, here are eight films about immigrants recommended by our staff.
Contributing Writer Norah Lesperance’s Pick: “I’m No Longer Here” (2019) dir. Fernando Frías de la Parra
This non-linear film follows 17-year-old Ulises (Juan Daniel Garcia Treviño) from Mexico to New York City, where a mix-up with a local cartel threatens his life. In Monterrey, Mexico, he led Los Terkos: a young group of kids sporting identical haircuts, always dancing to cumbia rebajada and, most importantly, looking out for each other. In the U.S., Ulises struggles to find community. This unique coming-of-age story is depicted by a cast of non-actors, making it feel deeply personal and beautifully compelling.
Managing Editor Nate Ruttenberg’s Pick: “Black Girl” (1966) dir. Ousmane Sembène
Following Senegalese immigrant Diouana (Mbissine Thérèse Diop), “Black Girl” tells the story of a domestic servant in France working for a wealthy, oppressive white family. Confined to the family’s home and subject to inhumane treatment, Diouana is forced to adapt to these unexpected circumstances. Sembène’s feature-length directorial debut is considered by many to be one of the first films by an African director to receive international attention and praise, although many American critics felt that the film did not dedicate enough time to Diouana’s white employers.
Contributing Writer Ryan Yau’s Pick: “Happyend” (2024) dir. Neo Sora
Neo Sora’s low-concept sci-fi “Happyend” takes place in a near-future Japan, where a nationalist prime minister uses the —possibly real, possibly inflated —threat of earthquakes to quell protests. Second-gen Korean immigrant Kō (Yukito Hidaka) and his friend, Yūta (Hayato Kurihara), care more about pulling pranks and going to techno shows than the world around them. But when a stunt-gone-too-far causes their school to implement an invasive high-tech security system, Kō drifts from Yūta as his developing political awareness clashes with his childhood pal’s laissez-faire attitude. The heartfelt coming-of-age storyline is matched by an exceptionally relevant political backbone, including representation of Japan’s often-overlooked immigrant population, and their dilemma of fighting for their rights as students versus securing their own status.
Deputy of Art and Photography Mia Cassidy’s Pick: “L’Histoire de Souleymane” (2024) directed by Boris Lojkine
“L’Histoire de Souleymane” tells the story of a young asylum seeker from Guinea who has come to France to work in hopes of being able to afford care for his mother, who struggles with mental illness. We follow Souleymane, working in food delivery by day and sleeping in refugee camps by night, in the days leading up to a crucial interview that will determine whether he can secure legal residency. Souleymane (Abou Sangaré) is vulnerable to all challenges that come his way—and hardships indeed arise. The film reflects Sangaré’s own story and sheds light on the harsh conditions and the animosity asylum seekers face as they work hard to make a life for themselves in a new country. Sangaré’s incredible performance rightfully earned him a César award for Male Breakthrough Role in 2025. The beauty of the images only adds to the power of this film and its message about humanity, one that is ever urgent for Americans to heed at a time when hate and violence against immigrants in our own country booms.
Editor in Chief Hannah Brueske’s Pick: “Forty Square Meters of Germany” (1986) dir. Tevfik Başer
After a Turkish couple immigrates to Germany, the husband keeps his wife locked in their small apartment. Written and directed by Turkish-German filmmaker Tevfik Başer, “Forty Square Meters of Germany” is an uncomfortable watch, and the director’s intent is hard to interpret — but not to a fault. It tells a historic tale that continues to play out in Germany today. In the 1980s, West Germans realized that the Turkish guest workers they had recruited in the 60s and 70s were here to stay. Their xenophobic sentiment towards Turks and their differences, particularly religious and cultural ones, began to grow, creating a hostile barrier between the two groups. In the film, it’s unclear whether the wife looks at the German women on the street outside of her window with envy or judgment. Either way, it’s clear she’s different, stuck between two worlds, neither of which she has a place or agency in.
Head of Art & Photography Sandra Sheedy’s Pick: ‘Rosemead” (2025) dir. Eric Lin
Starring Lucy Liu and based on a tragic true story, “Rosemead” follows Irene and her son, Joe. They navigate Joe’s worsening schizophrenia after the death of his father, with Irene battling cancer in secret. Within their Chinese immigrant community, Irene faces shame and guilt as the neighborhood gossips about their family and Joe’s condition. This film beautifully shines a spotlight on how Asian American communities can fail to recognize the importance of mental health, and what isolating, fatal consequences it has.
Staff Editor and Contributing Writer Liliya Shafir’s Pick: “Minari” (2020) dir. Lee Isaac Chung
Jacob (Steven Yeun) picks up his family from California; he settles back down on a farm in the Ozarks, a place where, especially in the 80s, a Korean-American family sticks out and must fight for their American dream. What makes “Minari” is its soundtrack: delicate, incredibly moving pieces that draw the family closer and allow the audience to become familiar with them. The film is not a story removed from the immigrant experience. It is immensely intimate, a retelling of Chung’s childhood which strikes a chord with anyone who relates, even in the slightest.
Staff Writer Francis Rogerson’s Pick: “Ali: Fear Eats the Soul” (1974) dir. Rainer Werner Fassbinder
In his staggering reinterpretation of Douglas Sirk’s Hollywood melodrama “All That Heaven Allows,”Fassbinder transmutes the May-December romance of Sirk’s film from one that merely crosses class lines into a simmering indictment of German prejudice against the Arab immigrant working class. Lonely and widowed, cleaning lady Emmi (Brigitte Mira) meets and falls in love with Ali (El Hedi ben Salem), a mechanic and Moroccan immigrant several decades her junior. As their relationship progresses, Emmi’s family, neighbors and co-workers ostracize her, and Emmi and Ali must consider what they are willing to sacrifice for their love to survive — and whether that love might come at the cost of their personal happiness.
Regions: Boston