François Ozon (director and writer), Emmanuèle Bernheim (writer), Philippe Piazzo (writer)

Following a transient ischemic attack, André Bernheim, the father of novelist Emmanuèle Bernheim, asks his daughter to help him end his life. This film adaptation of Bernheim’s novel follows Emmanuèle and her sister, Pascale, as they come to terms with their father’s decision and try to navigate the complex legalities that surround assisted dying for French citizens in Switzerland.

Olivier Nakache (director and writer), Éric Toledano (director and writer), Philippe Pozzo di Borgo (writer)

Based on a true story, this film recounts the unlikely friendship between Philippe, a very wealthy, widowed quadriplegic, and his hired caregiver Driss, a young man living in Paris’ poorer suburbs. As they get to know and come to trust one another, each shows the other something of his way of life, rekindling in the process his respective sense of purpose and joie de vivre.

Michael Haneke (director and writer)

Diagnosed with a severe, neurodegenerative condition, Anne steadily declines into a state of near paralysis, leaving her entirely dependent on her husband, Georges, and the carers he employs. Following ever-increasing pressures on Georges, he makes the snap decision to suffocate his wife, in what is presented as a mercy killing, calling us to question the definition of an assisted death.

Mia Hansen-Løve

Sandra, a single mother of an eight-year-old daughter, accompanies her father through his care after being afflicted with a neurodegenerative disease. The film shows her father’s rapidly deteriorating state and the difficulties posed for the family as he ceases to recognize his family members or surroundings.

Stéphane Brizé (director and writer), Florence Vignon (writer)

Following 18 months in prison, Alain goes to live with his elderly mother, who is living with cancer. Knowing that her cancer is progressing, Alain’s mother decides that she wants to end her life. Although he is initially sceptical, Alain decides to support her decision to end her life and travels with her to Switzerland, where their extremely tumultuous relationship is restored on her deathbed.

Vincent Fooij (director), Jean-Marie Lorand (writer)

During the last three weeks of his life, former journalist and parliamentary aide, turned assisted dying activist, Jean-Marie Lorand invited filmmaker Vincent Fooij into his home to make a final, documentary testimony of his life. The film attests to Lorand’s physical, mental and emotional suffering and serves as a justification for his much-longed-for assisted death.

Matt Day (dir.)

In this short film, three adult siblings come together for their mother’s planned assisted death only to discover that she has changed her mind. A blackly comic look at the coercion that could emerge in assisted dying situations, made as Australia was beginning the legalisation process.

Sue Rodriguez

In this videotaped address to Parliament, Sue Rodriguez, who was dying of ALS and wanted an assisted death, asks ‘If I cannot give consent to my own death […] who owns my life?’ While the Supreme Court of Canada heard her case in 1993 and ultimately decided against her, the publicization of Rodriguez’s story informed much public thinking about assisted dying laws in Canada.

Jeremy Sims (director and writer), Reg Cribb (writer)

Loosely based on real events in the mid-1990s during a brief period when voluntary assisted dying was legal in Australia’s Northern Territory, this fiction film follows terminally ill taxi driver Rex as he drives 3,000km north to Darwin to try to become the first person in the world to die using an assisted dying machine.

Benjamin Kempf (director) and Jann Preuss (writer)

Erika who suffers from cancer and her healthy husband Ruedi wish to die together by assisted suicide. When the lethal drug is ready, Ruedi is overcome with doubt, and the two argue. Ruedi ultimately drinks the deadly substance as well and lies down in bed with his wife. This short film, the first to explore double suicide in organised assisted suicide in Switzerland, is highly ambivalent.

Gaëlle Hardy (director and writer), Agnès Lejeune (director and writer)

Marking almost twenty years since the introduction of euthanasia in Belgium, this documentary provides insights from the office of Dr Damas, a physician responsible for assisted dying in a Belgian public hospital.

Valeria Golino (Director), Valia Santella (Writer)

In Valeria Golino’s ‘Miele’, Irene illegally assists in the deaths of terminally ill individuals. Her understanding of her work is challenged, however, when she meets Carlo who wishes to die but is physically healthy. The film is more interested in Irene’s internal conflict than in advancing a position for or against assisted dying, yet it nonetheless explores various opinions and experiences.

Shoojit Sircar (Director), Juhi Chaturvedi (Writer)

In ‘October,’ Dan gets attached to his coworker Shiuli while waiting for her to recover from a deep coma. During this wait, Dan and Shiuli’s family have multiple conversations about the possibility of ‘pulling the plug.’ ‘October’ subtly broaches the topic of passive euthanasia, and ultimately affirms conventional beliefs held in India about the sacredness of life.

Peter Richardson (director)

This documentary follows the stories of a number of individuals in Oregon who have chosen to, or are considering, making use of the state’s death with dignity law. Through these stories, it paints the legalization of assisted suicide in an extremely positive light, demonstrating the gratitude and relief of individuals who can legally access medications which will end their lives.

Martha Sepúlveda (interviewee), Juan David Laverde (interviewer)

In October 2021, Noticias Caracol aired an interview with Martha Sepúlveda, who expected to become the first non-terminal patient to have a legal euthanasia in Colombia. The interview went viral; Sepúlveda’s unworried attitude – smiling and seeing no conflict between her decision and her Catholic faith – caused controversy, and her euthanasia was cancelled before being reauthorized for 2022.