Thanksgiving is traditionally a time to celebrate all the good things in life with family and friends. But it seems like the holiday is slowly becoming overshadowed by the absurd and incredible shopping deals of the day after. This year, fans of streaming movies and television will reap some of that benefit, as Roku has announced a low-cost streaming player that will be sold as part of their Black Friday push. The device, which will regularly be sold for $50, will be only $25 online and at participating retailers. Despite the low-end cost, the Roku SE will still have access to all of their apps and can stream at 1080p. This could be a good push for those who haven’t already jumped into the streaming world or are still stuck to their computers. Now that we’re all done obsessively watching a Shia LaBeouf watch all of his own movies (we admit, it was surprisingly entertaining), check out these new titles streaming online this weekend.

Netflix

W/ Bob and David (Series, Season 1)

I discovered Mr. Show with Bob and David in college and it became one of the things my friends and I quoted endlessly. Even though some of its episodes were nearly 10 years old, it was so different and so special, that it seemed something just for us. Seventeen years later (can you believe it?) Bob Odenkirk and David Cross are back with a vengeance in a short series that is sure to capture the same rogue comedic spirit. In the years since their landmark first run, Odenkirk has reached critical acclaim and an Emmy nomination for best actor in a drama series (for Breaking Bad) and Cross created one of the most lovable losers in sitcom history (in Arrested Development). Seeing their incredible success over the years makes W/ Bob and David even more interesting—now they are back to claim the throne in sketch comedy once more.

Other titles new to Netflix this week:
Anna Karenina (Joe Wright, 2012)
Call Me Lucky (Bobcat Goldthwait, 2015)
Dear Jack (Joshua Morrisroe & Corey Moss, 2009)
Mala Mala (Antonio Santini & Dan Sickles, 2014)
The Wolfpack (Crystal Moselle, 2015)

Fandor

Araya (Margot Benacerraf, 1959)

One of the most beautiful documentaries ever made, Margot Benacerraf’s black-and-white study of Venezuelan salt mines is incredibly naturalistic and full of life. In a lot of ways, the film is a direct descendant of the Robert Flaherty school of filmmaking, as it takes an exotic location and simply watches daily processes. Araya is able to build a story out of many characters, however, and it does so very effectively—looking mostly at three generations of a family that all take on different jobs in the mine. The film effortlessly defines each in an anthropological way while maintaining their humanity. Also available now on Fandor is their newest Spotlight, called “The Auteurs,” which includes films from some of the greatest masters of film. Particular films available include The Conformist, Fitzcarraldo, Metropolis, The Turin Horse and The Beaches of Agnès.

Other titles new to Fandor this week:
A Coffee in Berlin (Jan Ole Gerster, 2012)
Fire Over England (William Howard, 1937)
Forget Me Not (Zoltan Korda, 1936)
The Great McGonagall (Joseph McGrath, 1974)
The Scarlet Pimpernel (Harold Young, 1934)

MUBI

Red Road (Andrea Arnold, 2006)

Before Andrea Arnold found indie acclaim with her 2009 drama Fish Tank she made the compelling thriller Red Road. In the film, Kate Dickie stars a Jackie, a security camera operator who quietly goes about her work until she sees a man from her past show up on screen. This simple setup has received comparisons to the work of thriller masters Alfred Hitchcock and Michael Haneke, and while Red Road is smaller in scope, it delivers on tension. Arnold wonderfully blends in the cinematic realism that she has become known for, giving a unique feel to the usually slick genre. Interestingly, the film’s characters were conceived by filmmaker Lone Scherfig (An Education, The Riot Club) and adapted by Arnold, who wrote the screenplay. You can check out this female-driven thriller on MUBI until December 7.

Other titles new to MUBI this week:
Gigante (Adrián Biniez, 2009)
The Headless Woman (Lucrecia Martel, 2008)
Lancaster, CA (Mike Ott, 2015)
The Little Deputy (Trevor Anderson, 2015)
Love and Anarchy (Lina Wertmüller, 1973)

Video On-Demand

Entertainment (Rick Alverson, 2015)

The recent spring of anti-comedy films has become one of the most bizarre movements in recent cinema. There has been successful and notable work from the genre’s key figures Tim Heidecker and Eric Wareheim and Canadian filmmaker Quentin Dupieux, but with Entertainment, Rick Alverson has set himself apart. Along with star Gregg Turkington, who plays a thinly veiled version of his comedic persona Neil Hamburger, Entertainment brings more dramatic stakes and pathos to the anti-comedy narrative. The film follows a stand-up comedian on a horrific tour through hotel lounges and dive bars across the American southwest. The unnamed comedian takes the Neil Hamburger act and replaces his alternative success with ridicule from audiences and overwhelming despair. It doesn’t try to be a character study, but you can’t help but probe into the character’s mind during the bombed performances and many quiet moments. Surrounding Turkington’s outstanding performance is a stellar and surprising supporting cast which includes John C. Riley, Tye Sheridan, Amy Seimetz and Michael Cera. For more opinions on Entertainment, check out of full review of this “dark, surreal road trip that brings out laughter and pain in [a] subversive, provocative anti-comedy.”

Other titles new to VOD this week:
Heist (Scott Mann, 2015)
Mr. Holmes (Bill Condon, 2015)
Shelter (Paul Bettany, 2014)
Tangerine (Sean Baker, 2015)
Terminator Genisys (Alan Taylor, 2015)

Like a lost relic from the French New Wave, A Coffee in Berlin dazzles with its melancholic black-and-white imagery and a jazzy soundtrack in line with Woody Allen’s New York ballads, following law school dropout Niko Fischer (Tom Schilling) as he hops from one peculiar encounter to another across the city he’s been stumbling through all his life. The film swept the German Oscars last year, and with it now finding U.S. distribution, we’re finally treated to its modest pleasures.

In his debut picture, Jan Ole Gerster tells an absorbing day-in-the-life story of a young man adrift in a sea of Generation Y wooziness. The film opens with scruffy Niko and his short-haired girlfriend breaking up in her bedroom. She asks him out to coffee, but he declines, claiming to have “a million things to do.” He’s barely trying. He’s got nothing to do. She knows it, he knows it, we know it. The scene ends, and Niko’s fatal flaw is revealed: he’s got no energy to commit to anything, even a beautiful girl shooting him flirty smiles in an unmade bed. He’s a sleepy fellow who believes he’s got nothing to offer the world.

The scene aesthetically recalls Breathless, but Niko is no Michel. He’s got no vigor, no drive to take what he wants, when he wants it. His license is taken away due to drunk driving, his daddy cuts off his allowance (which he’s been living on), and he even resorts to nicking change from a sleeping bum’s tip cup. That is, before a disapproving passerby catches him in the act. It’s a wonderfully funny scene, and most of the film’s humor stems from the unlucky Niko getting beat up by the universe.

Schilling is super-cool in his black leather jacket and button-down shirt. His a performance predicated on disconnection with the world, and yet he’s completely likable and relatable. There’s never any oomph given to the lines he delivers, because that’s what the role dictates. And yet, we listen closely to every word because we know he’s on a journey. He’s a nobody on his way to becoming somebody, and we want so badly for that somebody to break through his carefree veneer. His slow transformation from drifter into searcher is gripping.

The black-and-white aesthetic was a wise choice by Gerster, reflecting Niko’s state of mind while painting a beautifully dark, shadowy portrait of Berlin. There’s something about the combination of B&W images and piano music that fits so perfectly. Maybe it’s their shared percussive nature, or their ability to highlight the skeletal beauty of the art they bring to life. Or maybe it’s the color of the ivory keys that come to mind. Whatever it is, the sweet combination makes A Coffee in Berlin a pleasure to drink in, sip by luscious sip.

The film’s structure is simple but enjoyable, with Niko running into someone, having a weird conversation with them, then leaving equally befuddled and contemplative. From a creepy upstairs neighbor who offers Niko his wife’s meatballs to a girl named Julika who’s crush on and grudge against Niko have endured since they were kids, every encounter is interesting and well-written. There are some moments of tragedy and drama peppered throughout, but they’re half as affective as the moments of awkward hilarity. (The most poignant encounter is a short, simple one in which Niko tries out an elderly woman’s electric recliner.)

Least successful of all scenes is the film’s finale, sadly, which leaves a sour taste. Niko is joined at the bar by an old man who shares a sorry tale from his childhood about broken glass and bicycles. It’s all very reminiscent of one of Tom Waits’ earlier bar ballads, with the old man drunkenly stumbling through his story. The scene ultimately feels regrettably manipulative not in tune with the rest of the picture, which never begs for your attention. It’s like a street performer desperately shoving his tip jar in your face after a great performance: We would have offered up our money anyway, but now you’ve killed the mood. Still, A Coffee in Berlin is a largely enjoyable, understated picture that will tickle those with a taste for DIY indies and the French New Wave.

A Coffee in Berlin trailer