Ten great indies you may have missed

So my movie-watching in this Covid cocoon is drastically spotty — I have yet to see Korean-American family drama “Minari” or Anthony Hopkins as “The Father,” both Oscar winners — and I find myself returning to favorite films, classics new (“John Wick”) and old (“The Thin Man”). 

What’s stuck with me of late is a passel of small newish movies, from “The Rider” to “Eighth Grade,” that could easily be missed by casual viewers, despite the pictures’ celebrated exceptionalism. 

I’ve culled 10 semi-obscure indie pearls from the past several years, 2013 to 2020, a few of which I’ve gushed about before, and many coincidentally released by A24, the hot independent distributor that’s crushing the competition with curatorial savvy. 

I’ve seen the following titles at least twice, except for “Uncut Gems,” whose mad, relentless intensity has, two years later, left me spent. It’s a bruiser. And a winner.

Onward. These are 10 great indie films highly worth your time, in order of release:

  • “Locke” (2013) — A desperate everyman (the brilliantly intense Tom Hardy) is in the driver’s seat, literally, for the movie’s entire 85 minutes. Yes, he’s driving the whole time. The camera never leaves him as he negotiates via smart phone personal tumults on the winding highway of life. It sounds grueling, claustrophobic and static. It’s not. It’s gripping, hypnotic, and exhilarating.
  • “The Witch” (2015) — The smartest, creepiest, most stylish horror picture in years, Robert Eggers’ frightfully immersive period chiller lands us in woodsy 1630 New England, where a family is torn apart by the disappearance of one of its children. Suspicions target eldest daughter Thomasin (wide-eyed Anya Taylor-Joy of “The Queen’s Gambit”), who may have flirted with the dark arts. Then there’s that menacing dancing goat, who’s not quickly shaken. Beware Black Phillip
  • “Tangerine” (2015) — Oh, is she pissed. When transgender hooker Sin Dee hears that her boyfriend and pimp cheated on her while she was in jail, she pops with glorious fury, tracking down him and his new lover and exacting a kind of sassy L.A. revenge that includes an inordinate amount of hair pulling. Move over, she’s stomping the sidewalk in teetering heels, cracking wise and hunting heedlessly. Sean Baker shot this scruffy, no-fi, Day-Glo gem on an iPhone, with stunning results. Raunchy and hilarious, it shimmers like a smoggy SoCal sunset.  
  • “Good Time” (2017) — With flickers of the young Pacino and De Niro, Robert Pattinson is revelatory as a scrappy, dangerous two-bit criminal who’s on the lam after a comically/tragically botched bank robbery. The feisty film, by the gifted Safdie brothers, pulls you on a rousing run-for-your-life tumble through nocturnal Queens that’s at once loose-limbed and sweatily taut. A raw portrait of redemption and ruin, pocked with ground-level authenticity, it thrills as it harrows.
  • “The Rider” (2017) — Chloé Zhao’s understated drama moves at the painstaking clip of everyday life, much like her recent Oscar-winner “Nomadland.” But little is everyday here: Brady (non-actor Brady Jandreau) is a rock star of rodeo bronc riding, until an accident in the ring leaves him slightly brain damaged. He’s forced to give up the only life he knows, outside of breaking colts, which he does with a calm, tough-love Jedi mastery. The film is a fine-grained portrait of the pains of getting back on your feet after life-altering disappointment, about rebuilding your spirit after it’s been body-slammed and shattered. Easily the most moving film of 2017, “The Rider” is pure distilled emotion, beautifully shot on the Dakota prairie.
  • “Eighth Grade” (2018) — Her chin and forehead dappled with islands of acne, 13-year-old Kayla is stuck in the excruciating pangs of adolescent metamorphoses. A smidge pudgy, she is awkwardly pretty, a butterfly half-jammed in her chrysalis, squirming to soar. Her two front teeth, jumbly and bucky, will break your heart. Played by the perfect Elsie Fisher, Kayla is the magnetic lead in Bo Burnham’s indie wonder. She’s an arpeggio of teen neuroses, a raw nerve that keeps getting pinged. It’s about today’s kids, glued to their phones, glazed in technology, and forging one’s individuality amid willful clones who gussy up their insecurities in narcotizing conformity. Kayla, a hero for the times, lives by her words, the dictums she professes on the videos she so bravely records on her phone. It doesn’t always work out, but watch her grow mightier upon each posting.
  • “Los Reyes” (2019) — In this inadvertently poetic, profoundly affecting doc from Chile, the camera veers from the skateboarding youth who cruise sinuous bowls to examine the laidback lives of BFFs (best furballs forever): Football, the elder, creaky-jointed cur, and Chola, the frisky female chocolate Lab mix that occasionally tries to hump a large pillow. Dispensing with anthropomorphic cutes, this astonishingly patient film relies on the dogs’ alternately mirthful and mournful antics, quizzical gazes, the way they doze unfazed among the rackety-clackety skaters, or a simple shot of Chola standing statue-still in the rain, getting soaked with the patience of a penitent.
  • “Uncut Gems” (2019) — Adam Sandler is off the hook, and it’s enthralling, like a buzzsaw to the head. In full serio-comic mode — he’s funny and foredoomed — Sandler plays a blingy, dingy New York jeweler who sees dollar signs even when there aren’t any. When he makes a reckless, big bucks bet that could set him up for life, he gets ensnared in a web of business buds, family and foes who all want a piece. Writers-directors the Safdie brothers (of the above “Good Time”) sustain such a frenetic frenzy in this chamber dramedy, you may feel wrecked.  
  • “My Octopus Teacher” (2020) — The octopus cautiously unfurls a tentacle like a flower blooming in a time-lapse photo to the human hand before her. It glances the hand then suddenly sucks it, gently pulling it toward her. The moment carries the pitter-patter of courtship. Could this be love? “That’s when you know there’s full trust,” says the owner of the suction-cupped hand, free diver and filmmaker Craig Foster, in his rare doc. A viral smash, the film won this year’s best documentary Oscar. It’s something else: a simple tale about a grown man befriending a gorgeously slithery cephalopod in the swaying kelp forests of South Africa. Quietly instructive, it goes from lush nature doc to poignant octo-poetry.
  • “Saint Maud” (2020) — Poor innocent Maud. A reclusive nurse seeking Christian devotion after a vague trauma, she becomes the caretaker of an aging dancer dying of cancer. Detecting weakness, and death, Maud (a pretty, pallid Morfydd Clark) kicks into high gear, striving to save her ward’s soul from hellfire with an eerie resolve straddling the sacred and profane. Supernatural phenomena unfurl with a tang of Christian creepiness. Nothing is obvious in Rose Glass’ weird spiritual thriller, especially an amazing climax that will leave you snickering in squirmy, baffled awe.