Here are Cinephile Corner’s 10 recommendations for movies like Left-Handed Girl:
Prince of Broadway
Sean Baker’s Prince of Broadway serves as a fascinating blueprint for the themes and techniques he would later refine in his career. As Baker’s second feature, the movie provides an early look at his distinctive ability to blend chaos, intimacy, and authenticity into his storytelling. It’s a work that feels vital, a glimpse of an auteur beginning to explore the layers of the human experience through characters navigating the margins of society.
Preparation for the Next Life
Bing Liu’s Preparation for the Next Life is a patient, unvarnished drama about two people trying to build a life together with nothing to fall back on. After the nonfiction clarity of Minding the Gap, Liu shifts to narrative without losing the documentary instincts that made his debut so piercing. You feel that in the way the camera lingers on kitchens in Chinatown, cramped rooms, and the small rituals of work and survival. The story is familiar, yet the texture is specific.
Aftersun
Charlotte Wells’ debut movie Aftersun is a juggernaut. Few films demand the time and attention this A24 property does and also delivers on the promise of a deeply resonating ending that will surely endure the test of time and re-watchability. In many ways, Aftersun feels timeless – the rare use of technology or dated material is actually of 20 years past (around the timeframe for our lead character Sophie, played by the wonderful and peppy Frankie Corio, to reminisce the time she spent with her father), and the structural architecture and design of the Turkish resort they stay at is nearly absent. Every frame stays with people, not their surroundings.
The Florida Project
The Florida Project isn’t just one of Sean Baker’s best films—it’s a modern indie masterpiece that has solidified itself as one of the defining movies of the 2010s. Released by A24 in 2017, it’s a stunningly poignant slice-of-life drama that immerses the audience in the sun-drenched but deeply flawed world of its characters. For me, this movie came at the perfect time, when I was just beginning to see film as more than entertainment and started engaging with it as an art form. It wasn’t just a gateway into Sean Baker’s career; it was a revelation that reshaped how I thought about storytelling on screen.
C’mon C’mon
With C’mon C’mon, Mike Mills continues his deeply personal exploration of familial relationships, following Beginners (about his father) and 20th Century Women (about his mother). This time, he turns inward, reflecting on his role as a father and the complexities of raising a child in an uncertain world. The result is a delicate, introspective film that is both heartfelt and deeply human, even if it doesn’t always hit the emotional highs of Mills’ previous work.
The Fabelmans
The Fabelmans, Steven Spielberg’s latest movie, effectively mines through his childhood to examine his love for film. A complex set of ideas mixed in a way only the master filmmaker could pull together.
Urchin
Urchin plays like an extension of the drifter persona Harris Dickinson has been honing on screen, only this time he is behind the camera shaping it into a patient, street level character study. The focus is Mike, played by Frank Dillane, a man whose addiction and relapses strip away the basics of living. Housing goes, work goes, the next hit keeps him moving.
Train Dreams
Clint Bentley and Greg Kwedar keep their hot streak going with Train Dreams, a frontier drama that does not chase incident so much as it chases mood. Their collaboration on Sing Sing showed how closely they can align image and feeling, and that carries over here. The new film is not a thematic follow up, but tonally and visually it feels of a piece, quiet and attentive, full of shots that guide emotion rather than announce themselves.
Didi
Didi is the debut film from writer/director Sean Wang, who is telling an autobiographical story of growing up Asian in the late 2000s. Izaac Wang plays the impressionable 13-year-old stand-in of the director, who navigates learning to flirt, skate, and live in a three-generation household of women.
Take Out
With Take Out, Sean Baker establishes himself as a filmmaker deeply attuned to the lives of those on the fringes of society. It’s a deeply empathetic and quietly powerful film that, while not as polished as his later works, serves as a compelling introduction to his unique voice.
READ MORE: Left-Handed Girl (2025)
