For a serious drama: Jean de Florette and Manon des Sources, a shockingly good pair of French films that start when an idealistic city dweller moves out to the countryside to start farming on some valuable land that the locals would rather went to them.

Much less seriously: Le Concert. A French comedy-drama about a Russian conductor forced out of his prestigious role after a falling out with the Soviet leadership, who many years later gets an opportunity to re-form his orchestra out of a rag-tag group who haven’t played in years, and travel with them to Paris to give the eponymous concert, performing the same piece that he was conducting at the moment a KGB agent stormed in to strip him of his title. There are some more layers to it that give the movie some brilliant genuine heart, in addition to the hilarious hijinks of the premise.

I’ll just add an extra one that doesn’t really fit, but is kinda close. Death and the Maiden, by Ariel Dorfman. Doesn’t fit both because it’s a play rather than a movie or TV show, and because it might be originally English (I’m honestly not sure and have seen contrary answers about it—even in my copy of the play itself it’s unclear, with references to the “world premiere” in England being after it “was staged and opened in…Chile”). But regardless of the original language, it’s very much not from an anglo perspective, being written by a Chilean and set in post-Pinochet Chile (technically, it’s described as being potentially any country post dictatorship, but it’s primarily written for Chile). It’s about a husband who accidentally welcomes into their home a man whom his wife swears was her warden and rapist while she was imprisoned by the dictatorial regime, and the play is all centred around “is she right, and will her husband believe her?”