Misunderstood masterpiece continues to be a wildly overused term in the realm of film, but in a handful of rare cases, the inherently hyperbolic term is apt. Tom Green's scathing and gleefully anti-corporate directorial debut full of venom towards the cinematic powers that be and those sheep who lap up their endless stream of drivel is such a case. Using a tale as old as time concerning a classic American household headed by an abusive father as a jumping off point, Freddy revels in anti-comedy and as a means to brilliantly dissect and dig deep into the mental illness and wounds both physical and emotional, caused and conflated by a puritanical society and those who pretend it's anything but unnatural and anti-human. Next up we hop over to Denmark for Lars von Trier's most searingly personal, brilliant, and transcendent work, The Idiots, which focuses on a group of people living together commune-style, and their daily dalliances into the "normal" world wherein they attempt to upend the accepted "good" behaviour necessary to be a part of society by feigning varying levels of mental and physical illness. Though initially mired in backlash for its incendiary jumping off point, time has helped many a filmgoer realize the raw and painful emotional core of The Idiots and see clearly it's pained and desperate wail for a genuine and sincere world, rather than the faux-perfection, white-picket-fence-hell put forth as utopia by the majority of societies today. Viewed in succession, these films pack a shockingly touching, at times hysterical, and heart-warming punch celebrating those who refuse to accept reality and society as perfect, and those who will throw every chaotic wrench in their arsenal at the soul-crushing systems in place until they crumble.