Movies that can be seen on May 22

On May 22, 2026, a very varied batch of films arrives, with titles such as Love Me Tender, Hitler's tasters, The Hübener case, Hugo 24, two days, Beast, The island of Amrum y master movewhich combine intimate drama, historical cinema, social portrait, action and satire. A little bit of everything, from very emotional stories to more irregular proposals.

Love Me Tender (Anna Cazenave Cambet, 2025)

Clèmence's story is as real as the novel—and the life—of Constance Debré on which it is based: a lawyer who leaves her profession to be a writer, separates from her husband after telling him of her lesbian orientation, and ends up losing custody of her son. The film focuses on an intimate and devastating pain, that of someone who is separated from their child for months or years, and it also does so from a circumstance marked by discrimination and personal freedom. It is a delicate, valuable and very hard work to digest, but also necessary.

Hitler's tasters (Silvio Soldini, 2025)

The film is based on the novel The collector by Rosella Postorino, inspired in turn by the true story of Margot Wölk, recruited along with other young women to taste Hitler's food and avoid poisoning. Beyond the historical anecdote, the story portrays the brutality of Nazism, the humiliation exercised on defenseless girls and the guilt of a survivor who carries too many absences and too many wounds. The result is a historical drama with pulse, interest and a very strong moral background.

The Hübener case (Matt Whitaker, 2025)

There are not many films about resistance to Nazism within Germany, and this reconstruction of a real case tells well the political awakening of a 16-year-old boy following the exclusion from the church and the arrest of his Jewish friend. With a typewriter first and a multicopy machine later, he begins to write anti-Hitler pamphlets with the help of two friends, in an oppressive and fiercely surveilled context. The setting is excellent and the whole is tough, convincing and exciting.

Hugo 24 (Luc Knowles, 2026)

Second feature from a Spanish-British director who clearly moves in the orbit of European social cinema and who here is clearly indebted to Ken Loach in tone, camera and visual texture. The protagonist is a young man with no job or horizon, trapped between living with his sister and the threat of eviction, while trying not to sink completely into fear and discouragement. It may sound like a familiar story, but it has moments of truth and a conviction that gives it strength.

two days (Gonzaga Manso, 2026)

It is a tribute to the director's grandfather, who also signed the script and photography, and this is evident in the emotional charge of the proposal. The film observes the cognitive deterioration of an octogenarian with the onset of Alzheimer's and the response of a family that faces this gradual loss with different attitudes and different degrees of acceptance. However, despite its good intentions and underlying emotion, the whole thing seems weak and quite predictable to me.

Beast (Tyler Atkins, 2026)

Shot in Australia and with Russell Crowe as co-writer and supporting performer, this production fails to disguise its status as a topical story about MMA. The first half hour already reveals a succession of very common types and situations, with little room for surprise and even less for sustained interest. If the genre doesn't appeal to you, the film does nothing to make it an exception.

The island of Amrum (Fatih Akin, 2025)

Fatih Akin here departs from his most combative cinema to look at the childhood of a friend in the last months of the Second World War, when he was 12 years old and had to grow up while surviving hunger and Nazi violence. Although the premise may sound familiar, the film finds nuances in the characters and the decisions that each one must make in a very hostile environment. It is a more serene work than usual by Akin, but it is worth it.

master move (John Patton Ford, 2026)

This variation of Eight death sentences presents an attractive and manipulative heir who eliminates family members who get in his way to keep the fortune. The mixture of comedy, intrigue and social notes does not quite come together because the rhythm and tone are not well resolved, and the viewer's involvement remains half-finished. He has ideas, but not the precision necessary to make them shine.