Can we all agree that as far as holidays go, Valentine’s Day is pretty bogus? The day is designed to sell candy and cards and set up unhealthy expectations for the single folks, making it more cynical than romantic. Luckily, Netflix offers a variety of films and television series catered to both the romantic and the cynical. If you are lucky enough to share the evening with a special someone, Pride & Prejudice (Joe Wright, 2005), Beginners (Mike Mills, 2010), Amelie (Jean-Pierre Jeunet, 2001), and Notting Hill (Roger Michell, 1999) are great options to snuggle up over. For those a little more jaded by romantic experiences, harder edge, love stories like Blue Is the Warmest Color (Abdellatif Kechiche, 2013), Laurence Anyways (Xavier Dolan, 2012), The One I Love (Charlie McDowell, 2014), and Love (Gaspar Noé, 2015) are also available on the streaming service. So, no matter your feelings on Valentine’s Day, there are plenty of visions of love on film for you to see this weekend. And for other new films and television new to streaming this week, check out the recommendations below:

Netflix

Dope (Rick Famuyiwa, 2015)

Somewhat lost in the shuffle of diverse film offerings from 2015 (despite being a huge hit during the festival circuit), Dope is a fast-paced and endearing throw-back to the early 90s hip-hop culture. In the film, a group of three inner-city high school friends get wrapped up in the drug trade while facing pressures brought on by their identity, community and social expectations. Shameik Moore (who will soon star in the Baz Luhrmann Netflix series The Get Down) gives a great breakthrough performance as Malcolm, a nerdy but charming kid at the center of the story. Director Rick Famuyiwa (The Wood, Our Family Wedding) brings a passionate, clear voice to the film that will continue to resonate as issues related to race and identity become more and more complicated. You can check out our full review of this “Must See Indie”.

Other titles new to Netflix this week:
Bates Motel (Series, Season 3)
Black Souls (Francesco Munzi, 2014)
Brotherly Love (Jamal Hill, 2015)
The Girl in the Book (Marya Cohn, 2015)
The Railway Man (Jonathan Teplitzky, 2013)

Fandor

The Harder They Come (Perry Henzell, 1972)

Seminal reggae musical The Harder They Come has long been difficult to see—it isn’t available on any streaming service and would show up in the “Saved” section of your Netflix DVD queue. The film stars Jimmy Cliff as Ivanhoe Martin, a struggling musician in Kingston who gets wrapped up in drugs and crime. Heralded for its soundtrack, which placed on Rolling Stone magazine’s Top Albums of All-Time list, the music largely opened up reggae and Caribbean music to world-wide audiences, paving the way for figures like Bob Marley to reach prominence. Also new to Fandor this week are its “Criterion Picks”, featuring great French romances of forbidden love, just in time for Valentine’s day.

Other titles new to Fandor this week:
The Cult of JT LeRoy (Marjorie Sturm, 2014)
The Earrings of Madame de… (Max Ophuls, 1953)
L’inhumaine (Marcel L’Herbier, 1924)
The Lovers (Louis Malle, 1958)
The Soft Skin (François Truffaut, 1964)

MUBI

The Aviator (Martin Scorsese, 2004)

With Leonardo DiCaprio the odds-on favorite to win his first Academy Award this year, it’s a good time to revisit one of his highest profile roles (for which he lost out on the statue to Jamie Foxx in Ray—not sure how that would play out if they ran that race again). DiCaprio’s portrayal of the reclusive billionaire Howard Hughes is a sprawling epic, nearly three hours long, spanning more than 20 years. Overall, The Aviator won 5 Oscars, including for Cinematography and Editing, as well as Cate Blanchett’s supporting role as famed Hollywood actress Katharine Hepburn. You can check out Scorsese’s wonderful biopic on MUBI until March 12.

Other titles new to MUBI this week:
The Draughtsman’s Contract (Peter Greenaway, 1982)
The Girl on the Train (André Téchiné, 2009)
Ne Change Rein (Pedro Costa, 2005)
Sweetgrass (Ilisa Barbash & Lucien Castaing-Taylor, 2009)
Who’s Camus Anyway (Mitsuo Yanagimachi, 2005)

iTunes and Video On-Demand

The Peanuts Movie (Steve Martino, 2015)

One of the great animated entertainments to come out this year was The Peanuts Movie, a nostalgic updating of the beloved classic comic strip. Charlie Brown, Snoopy, Lucy and the rest of the gang are featured in an original story with plenty of reverence to its source material and through stunning computer-generated animation. The film tells two companion stories: one featuring the Little Red-Haired Girl who moves into the neighborhood, immediately capturing the attention of the lovable worrier Charlie Brown, and a fantastical side story with Snoopy and his sworn enemy the Red Barron. The Peanuts Movie is now available to rent or own on iTunes and other VOD platforms.

Other titles new to VOD this week:
99 Homes (Ramin Bahrani, 2014)
Freaks of Nature (Robbie Pickering, 2015)
Grandma (Paul Weitz, 2015)
The Leftovers (Series, Season 2)
The Night Before (Jonathan Levine, 2015)

Bernard flies Han Solo again for the 25th episode of the Way Too Indiecast! On the docket are three big reviews: Netflix’s new documentary, What Happened, Miss Simone? about the legendary jazz vocalist; Maya Forbes’ true-to-life family story Infinitely Polar Bear, starring Mark Ruffalo and Zoe Saldana; and Rick Famuyiwa’s ’90s hip-hop-flavored coming-of-age comedy Dope. All that, plus Bernard’s thoughts on movies’ role in propagating racism on this week’s intensely personal episode of the Way Too Indiecast.

Topics

• Racism in Film (1:04)
• What Happened, Miss Simone? Review (15:27)
• Infinitely Polar Bear Review (23:00)
• Dope Review (32:00)

WTI Articles Referenced in the Podcast

Dope review

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Good-natured geeks get pulled into the quicksand of LA gang culture in Rick Famuyiwa‘s Sundance hit, Dope. It’s an unpredictable coming-of-age comedy that earns every laugh with its smart writing and well-crafted jokes that never feel cheap. Unlike other films addressing similar social and racial issues, Famuyiwa’s film isn’t a hero’s tale or some urban fantasy about rising above prejudice. It’s not a story about being a good person; it’s about being a survivor.

The underdog at the center of the story is Malcolm, played by a flat-top-rocking Shameik Moore. Malcolm’s a bright high school senior living in the Inglewood neighborhood called “The Bottoms” with his mom, a bus driver (his father left a long time ago, his only meaningful remnant a gifted VHS copy of Superfly). He’s a self-professed geek, spending most of his days obsessing over ’90s hip-hop culture (hence the flat-top), manga, porn and playing in a punk band with his two best friends. Kiersey Clemons plays Diggy, an outgoing, out-of-the-closet scrapper who’s always got Malcolm’s back. The third member of the hip-hop bohemian tribe is a scrawny fellow they call Jib, played by Tony Revolori (he was Zero in The Grand Budapest Hotel).

It’s explained early on (via slightly awkward Forest Whitaker narration) that The Bottoms is a pretty unfriendly place for them. Fights and shootings happen all the time, so getting bullied at school by Bloods (an everyday occurrence for Malcolm) is considered a relatively trivial complication compared to the gruesome stuff that happens on the block. Malcolm tries to avoid trouble as best he can, especially since he’s got Harvard in his crosshairs as his first-choice school. Nowhere in his application letter does he mention his under-privileged upbringing; instead, he analyzes Ice Cube’s Good Day as a way to stand out from the crowd of Harvard hopefuls. Upon reading the letter, Malcolm’s professor, who’s facilitating the application process, is frustrated that Malcolm—a straight-A student with a sterling record—thinks he can get into Harvard without using his hard-knocks upbringing to garner sympathy. “Who do you think you are?”

Later in the film, Malcolm’s in a dingy warehouse back office making a deal with a snarling thug involving inordinate amounts of molly (ecstasy), a thumb drive, and wads of dirty cash. The gangster tells Malcolm exactly who he is: “A man who don’t give a fuck.” How did Malcolm, a model teenager with a clean conscience, fall into such shady business, business that could derail his future?

It all starts with Dom (A$AP Rocky), a charismatic dealer who runs his block with a clenched fist. He takes Malcolm under his wing, using the nervous teen as a messenger pigeon to ask a pretty, smart girl up the block (Zoë Kravitz, channeling Nia Long in Friday) to come to his birthday party at the club. She agrees, but only if Malcolm goes, too. Malcolm develops a quick crush, of course, so he shows up to the party, Diggy and Jib in tow. In the chaos of a drug deal gone-wrong and a subsequent police raid, Malcolm winds up with a gun and tens of thousands of dollars worth of drugs in his backpack.

Thus begins Malcolm’s descent into a world of narcotic traffickers, racketeers and killers, with the geeky trio scrambling to figure out how to get rid of the drugs while trying to stay alive. The series of unlucky events cascade like falling dominos, and though things get dicey, the humor is always there, sustaining the film’s vigor.

Malcolm’s is a veritable whiz when it comes to academics, but when it comes to his new drug-slinging street life, he’s completely out of his depth. Whether he’s being seduced by a sultry drug empire princess, talking on the phone with a growly debt collector, or shivering as he points a gun for the first time, he’s always got a stupefied, almost cross-eyed look on his face. Moore’s great in the role because he’s effortlessly sympathetic; you can’t help but like him (the awesome Fresh Prince, De La Soul-inspired throwback attire doesn’t hurt, either). The rest of the cast is mostly very good, though Roger Guenveur Smith stinks up the joint as a borderline-comatose drug lord. Clemons and Revolori play solid confidants, but at the end of the day, Moore runs away with the movie.

Famuyiwa and DP Rachel Morrison’s visuals are vibrant and crisp, utilizing split-screen and unexpected freeze-frames and interludes to electric effect. The film’s always on the move, just like its protagonists. A late, unforgettable sequence in which Malcolm addresses the camera directly is a breathless show-stealer, a chilling monologue that’s easily be one of the best movie moments of the year. As far as soundtracks go, it’s Dope‘s track-list is going to be tough to beat. Narratively weaved-in classics from Nas (“The World Is Yours”), Public Enemy (“Rebel Without a Pause”) and A Tribe Called Quest (“Scenario”) are invaluable in defining the film’s style and vibe.

Like Dear White People, Dope is a movie about identity and perception. Malcolm’s struggle to reconcile his Harvard aspirations with his current, Walter White-ish situation is the movie’s drive, and the final resolution is a piercing observation on being someone of color, someone who society expects less from than the white mighty majority. The movie doesn’t get weighed down by the serious business, though: it’s a terrific hangout flick in the vein of Cooley High and Friday. Dope‘s dopeness is off the charts.

Summer movies are typically thought of as billion-dollar budget shoot-em ups, exotic car chases, loud explosions, and the latest Michael Bay film (which usually has all of those). But summertime offers more than just mainstream blockbusters. There are plenty of independent films fresh off the festival circuit and ready for public consumption in the summer months.

We’ve compiled our most anticipated indie titles for you to watch this summer. So if you’re looking for a break from the next superhero sequel, try some of these.

Slow West

(May 15th)

The fact of the matter is, we’ll watch anything with Michael Fassbender. The actor has been unstoppable for the past several years, turning out one mesmerizing performance after another. Even more, Fassy is clearly a loyal guy, forging relationships with a handful of directors, which has in turn resulted in some incredible films (12 Years a Slave being the high water mark of his collaborations with Steve McQueen). Now he’s at it again with Slow West, this time with first-time feature director John Maclean (the pair teamed up for Maclean’s first two shorts, Man on a Motorcycle and the very fun Pitch Black Heist). Slow West, also written by Maclean, is an absurdist western that sees young Jay (Kodi Smit-McPhee) on a journey across the American west chasing after the woman he loves and accompanied by the enigmatic Silas (Fassy). To boot: the film co-stars the always terrific Ben Mendelsohn playing the depraved baddy like only he can. The film popped up first at Sundance earlier this year where it took home the World Cinema Jury Prize for drama—another good sign. All of this piled on top of the ridiculous first trailer and the fact that both of Maclean’s shorts are rich—and mostly successful—experiments in mood and great showcases for the actors involved. Consider Slow West an intriguing alternative to the bonkers (Mad Max: Fury Road) and the bubbly (Pitch Perfect 2) on May 15th. [Gary]

Heaven Knows What

(May 29th)

Even when you get the opportunity to cover more than one festival in a year, there’s always going to be a movie (or two, or three..) that will inevitably elude you. This was the case with me, last year, during TIFF, where our very own Dustin watched and praised Heaven Knows What and its sensation of “never knowing what’s going to happen next that makes for a fixating film.” The story is distressingly bleak, following the life of heroin junkie Harley (Arielle Holmes) as she wanders through the drug-addled streets of NYC, making one poor decision after next. In all honesty, though, it’s the remarkable tale from behind the scenes that’s peaked my interest in this indie, directed by brothers Bennie and Joshua Safdie. It’s a case of subject matter choosing its creator, since the Safdies happened on Holmes, a former heroin junkie who used to be homeless, completely by chance. The story of Heaven Knows What is very much a semi-autobiographical account of Holmes’ experience. This blurring of the lines between fiction and real-life makes for an especially revealing and fascinating viewing experience, and with the buzz ringing throughout all of last year, my hopes are considerably high for this one. [Nik]

Me and Earl and the Dying Girl

(June 12th)

After winning both the Grand Jury and Audience Awards during its premiere at the Sundance Film Festival back in January, Me and Earl and the Dying Girl was one of the first 2015 films we put on our highly anticipated list. Writer Jesse Andrews adapted the screenplay from his own novel, telling the story of a teenage filmmaker forced to befriend a classmate who has just been diagnosed with cancer. As the two slowly form a friendship, the teenager decides to make a short-film about his dying friend, putting his classic film parodies on hold. Me and Earl and the Dying Girl sounds like a mashup between The Fault in Our Stars and Be Kind Rewind, taking a heartfelt young adult story (minus the cheesy stereotypes) and presenting it with unique stylistic flourishes and Criterion Collection references. Fox Searchlight quickly bought the rights for the film after premiering to standing ovations and glowing reviews from Sundance, and the studio plans to release the film on June 12th. Until then, we’ll attempt to contain our excitement and stock up on tissues. [Dustin]

Dope

(June 19th)

With the accolades it picked up at this year’s Sundance—including a lovely little bidding war for its distribution before finally landing with Open Road Films—and as it prepares to close out the Director’s Fortnight at Cannes, Dope hardly needs any more festival love before it opens June 19 (though it will get one last send off to theatrical release at the LA Film Festival). This vibrant film, directed by Rick Famuyiwa (The Wood, Brown Sugar), looks like the cool geeky-gangster ‘90s throwback movie I didn’t know I was waiting for. Starring Shameik Moore as Malcolm, a high-schooler trying to get by, keep his grades up, and make it into Harvard while traversing his rough Compton neighborhood, the film looks fast paced and clever. Like John Hughes took the wrong exit off the freeway and landed in the hood. The misadventures of a black teen and his friends, navigating the drug scene with nerdy hilarity just sounds fresh. And since teen tales have been needing a revamp for a while, this one looks like it’s got the smarts, the laughs, and sure as heck has the beats. We can’t wait to watch—and buy the soundtrack. [Ananda]

Tangerine

(July 10th)

Ever since seeing Sean Baker’s Starlet, I’ve been anxiously anticipating what he would do next. Starlet, for those who don’t know, is an odd couple tale about a young porn star who befriends an old woman she meets at a garage sale. Everything about Starlet screamed bad Sundance movie to me: the unlikely pairing, the unconventional hidden secret (She’s a porn star! Shock!), and the inevitable bonding of both characters despite their differences. And yet, Starlet completely won me over. Yes, it’s clichéd, but Baker, working on a low budget, has two incredible lead performances, along with a screenplay that brought out a winning, human side to the story. It was also gorgeously shot, with a look that could only be described as Californian. Tangerine looks like an entirely different and more abrasive experience, following two transgender prostitutes around Los Angeles on Christmas Eve as one of them hunts down her cheating boyfriend/pimp. The red band trailer promises a film full of frantic energy, sun-kissed visuals (Baker remarkably shot the whole thing on an iPhone, and even on a low budget he still nails the California look) and an earnest, humanistic portrayal of its characters. This summer is bound to be filled with big budgets and high concepts, but I won’t be surprised if this lo-fi work turns out to be this season’s true stunner. [C.J.]

Irrational Man

(July 17th)

I found myself in the minority last year as I very much enjoyed Woody Allen’s mystical rom-com Magic in the Moonlight, which starred Emma Stone and Colin Firth as a pair of illusionists stripping away each others’ guises on the French Riviera in the 1920s. I was charmed; sue me. Irrational Man, Allen’s annual movie offering this summer, stars Stone yet again, this time partnering up with another older man (though the gap is a bit narrower this time), Joaquin Phoenix. It’s a mystery drama about an existentially tortured philosophy professor (Phoenix) who falls for one of his students (Stone), who may be lifesaver that keeps him from drowning in his sea of alcoholism and depression. I loved the ebullience of Magic in the Moonlight, but it’ll be nice to see Allen tackle more turbulent material. His last drama, Blue Jasmine, was a face-melting showcase of star Cate Blanchett’s raw talent; with Irrational Man, it may be Phoenix’s turn to wow us. [Bernard]

Mr. Holmes

(July 17th)

Sometimes there is just a perfect role for an actor. That’s what we have with Mr. Holmes, another vision of the master sleuth—this time aged and retired, and played by Sir Ian McKellen. It’s been easy to take the veteran actor for granted recently, with a majority of his recent credits as Gandalf or Magneto. Don’t get me wrong, he’s more than dependable in those roles, but I’m excited to see him put away the staff and helmet and do something a little different. Sherlock Holmes has always been a character with a lot to offer for a smart and reserved performer, and McKellen will no doubt bring grace and wisdom. I also like the idea of setting the character in a small-set film, allowing the appeal to be more about character work than mystery. Mr. Holmes also pairs McKellen back with director Bill Condon, who has also been recently wrapped up in a franchise. Their collaboration on Gods and Monsters was perhaps the best work of both men—Condon won an Oscar for his script, and McKellen received his first acting nomination. Mr. Holmes may be too small to get much notice from the Academy, but it might be their best shots in a long while. [Aaron]

Southpaw

(July 24th)

Actor Jake Gyllenhaal stung me with his performance in 2013’s Prisoners, then he put me on the ropes in 2014 with the one-two punch of Enemy and Nightcrawler. With that kind of prowess, why wouldn’t his next role be that of a boxer? In the upcoming sports drama Southpaw, Gylenhall plays Billy Hope, a champion fighter who has it all until tragedy strikes his family, sending his life into an uncontrollable spiral. Reduced to nothing, Billy seeks redemption and prepares for a comeback with the help of trainer Tick Wills (Forest Whitaker). Gyllenhaal’s past film-to-film character transformations have been tremendous, and whatever he does will have my interest, but here he takes “commitment to craft” to the next level, with a physical transformation for the ages. He looks like an absolute beast in the ring, and if the trailer is any indication, his emotional intensity will be just as fierce. While I’m not convinced direction from hit-or-miss Antoine Fuqua equates to an Oscar win for Gyllenhaal (Fuqua directed Denzel Washington to Oscar glory as another kind of beast in 2001’s Training Day), I am convinced the actor has more than a fighting chance thanks to a screenplay written by the guy who created TV’s Sons of Anarchy, Kurt Sutter. [Michael]

Unexpected

(July 24th)

Like several other films on this list, Kris Swanberg’s highest profile work yet, Unexpected, made its debut back in January at the Sundance Film Festival to a strong reception among critics and festivalgoers. The film stars Cobie Smulders as Samantha Abbott, a high school teacher in Chicago who discovers she is pregnant around the same time she finds out Jasmine, a student of hers played by Gail Bean, is also facing an unplanned pregnancy. In focusing on the friendship that forms between the two as they face a similar (and at times wildly different) situation, Swanberg has delivered a film that seems to have impressed a lot of people back in Park City, Utah. Hopefully this film (along with Andrew Bujalski’s Results) can also serve as a breakout towards many more interesting roles for Smulders, who has always shown a lot of potential but has until recently been mostly wasted on How I Met Your Mother and as Maria Hill, the most thankless role in the Marvel Cinematic Universe. Unexpected also stars Anders Holm (Workaholics) and Elizabeth McGovern (Once Upon A Time in America), it is set to be released on July 24th. [Ryan]

The End of the Tour

(July 31st)

It’s easy to understand why a large portion of film journalists have responded so enthusiastically to The End of the Tour since the movie premiered at Sundance. Based on Rolling Stone writer David Lipsky’s book, this drama recounts the time Lipsky (here played by Jesse Eisenberg) spent interviewing the late author David Foster Wallace (Jason Segel, in a performance several have already deemed “transformative”) during Wallace’s book tour for his iconic release “Infinite Jest.” Maybe that prospect of a writer interviewing a writer about writing holds a greater cachet if you’re already a Way Too Indie interviewer; however, considering that The End of the Tour comes from director James Ponsoldt, the movie’s qualities should appeal more broadly. Ponsoldt’s last two films, Smashed and its spiritual prequel The Spectacular Now, feature characters in varying levels of crisis struggling to articulate their true feelings. Tour has already been labeled “dialogue-heavy,” and Ponsoldt’s ability to steer scenes around natural yet increasingly tense conversations should serve Jesse Eisenberg and Jason Segel particularly well. An opportunity to hear Eisenberg and Segel exchange bits of introspective self-analysis could turn into a surprisingly poignant summer diversion. [Zach]

Sinister 2

(August 21th)

Any time a sequel is announced to a movie where all of the main characters were killed off at the end, you have to wonder what direction the filmmakers are going to venture in with the follow up. With Sinister 2, co-writers Scott Derrickson and C. Robert Cargill seem to be giving fans of the original exactly what they asked for. The highly-anticipated sequel will bring the original film’s comic relief character, fan favorite Deputy So & So (James Ransone), to the frontlines alongside series newcomer Shannyn Sossamon. Though Scott Derrickson isn’t returning to the director’s chair, his replacement is no slouch, and should be a familiar name to genre diehards. Director Ciaran Foy previously tackled a movie with lots of creepy children in 2012’s Citadel, so while he may have some pretty big shoes to fill, Foy may very well be the right man for the job. While it’s doubtful that Sinister 2 will sweep the Oscars, it looks to be a fun, creepy follow-up to one of the best wide-release horror films to come along in the past few years. [Blair]

The 21st Los Angeles Film Festival, produced by Film Independent, announced its complete lineup this morning. 30 films have been chosen for inclusion in their U.S. Fiction, Documentary and World Fiction competitions, 18 of which will be world premieres.

Previously they had already announced that the Opening Night Film will be Grandma and there will be Gala Screenings of the first episode of the MTV TV series Scream as well as the feature films Seoul Searching and The Final Girls (which just won an audience award at 2015 Stanley Film Festival). Additionally two pre-festival screenings will also be held: Dope will have its LA Premiere on June 8 and Inside Out will screen on June 9 and be preceded by a special Master Class with writer/director Pete Docter. It was also announced, this year’s Guest Director is Rodrigo García, Gale Anne Hurd will receive the Jaeger-Lecoultre Glory to the Filmmaker Award and Lily Tomlin will receive the Spirit of Independence Award.

The Los Angeles Film Festival will be held in LA between June 10 – 18. Way Too Indie will have comprehensive coverage of the festival.

Complete LA Film Festival Lineup

(Does not include short films, Launch digital media lineup, high school competition, or music videos.)

US Fiction Competition

Original voices with distinct visions from emerging and established American independent filmmakers.

3rd Street Blackout, dir. Negin Farsad, Jeremy Redleaf, USA, World Premiere

A Country Called Home, dir. Anna Axster, USA, World Premiere

Bastards Y Diablos, dir. A.D. Freese, USA/Colombia, World Premiere

The Girl in the Book, dir. Marya Cohn, USA, World Premiere

How He Fell in Love, dir. Marc Meyers, USA, World Premiere

It’s Already Tomorrow in Hong Kong, dir. Emily Ting, USA, World Premiere

Mekko, dir. Sterlin Harjo, USA, World Premiere

Out of My Hand, dir. Takeshi Fukunaga, USA/Liberia, N. American Premiere

Puerto Ricans in Paris, dir. Ian Edelman, USA/France/Czech Republic, World Premiere

Too Late, dir. Dennis Hauck, USA, World Premiere

Documentary Competition

Sponsored by Netflix and Loyola Marymount University’s School of Film and Television.
Compelling, character-driven non-fiction films from the U.S. and around the world.

A New High, dir. Samuel Miron, Stephen Scarpulla, USA, World Premiere

The Babushkas of Chernobyl, dirs. Holly Morris & Anne Bogart , USA/Ukraine, World Premiere

Be Here Now (The Andy Whitfield Story), dir. Lilibet Foster, USA/Australia, World Premiere

Catching the Sun, dir. Shalini Kantayya, USA, World Premiere

In a Perfect World, dir. Daphne McWilliams, USA, World Premiere

Incorruptible, dir. Chai Vasarhelyi, Senegal/USA, International Premiere

Love Between the Covers, dir. Laurie Kahn, USA, U.S. Premiere

Maiko: Dancing Child, dir. Åse Svenheim Drivenes, Japan/Norway, World Premiere

Missing People, dir. David Shapiro, USA, U.S. Premiere

My Love, Don’t Cross That River, dir. Mo-Young Jin, South Korea, U.S. Premiere

Oriented, dir. Jake Winternitz, UK/Palestine/Israel, International Premiere

Treasure; From Tragedy to Trans Justice, Mapping a Detroit Story, dir. dream hampton, USA, World Premiere

World Fiction Competition

Unique fiction films from around the world from emerging and established filmmakers, especially curated for LA audiences.

Atomic Heart, dir. Ali Ahmadzadeh, Iran, North American Premiere

Ayanda and the Mechanic, dir. Sara Blecher, South Africa, World Premiere

Elvira, Te Daria Mi Vida Pero La Estoy Usando (Elvira, I’d Give You My Life But I’m Using It), dir. Manolo Caro, Mexico, International Premiere

Flocking (Flocken), dir. Baeta Gardeler, Sweden, North American Premiere

Las Malas Lenguas (Sweet and Vicious), dir. Juan Paolo Arias, Colombia, World Premiere

A Midsummer’s Fantasia, dir. Jang Kun-Jae, South Korea/Japan, U.S. Premiere

Sin Alas (Without Wings), dir. Ben Chace, Cuba, International Premiere

White Moss (Belyy Yagel), dir. Vladimir Tumaev, Russian Federation, International Premiere

Buzz

Los Angeles premieres of celebrated favorites from around the world.

Brand: A Second Coming, dir. Ondi Timoner, UK/USA

Chuck Norris vs Communism, dir. Illinca Calugareanu, UK/Romania/Germany

The Dark Horse, dir. James Napier Robertson, New Zealand

Diary of a Teenage Girl, dir. Marielle Heller, USA

In Football We Trust, dir. Tony Vainuku, co-dir. Erika Cohn, USA

Infinitely Polar Bear, dir. Maya Forbes, USA

Jimmy’s Hall, dir. Ken Loach, UK/Ireland/France

Manson Family Vacation, dir. J. Davis, USA

The Overnight, dir. Patrick Brice, USA

People, Places, Things, dir. James C. Strouse, USA

The Vanished Elephant, dir. Javier Fuentes León, Peru/Colombia/Spain

Victoria, dir. Sebastian Schipper, Germany

Sweet Micky for President, dir. Ben Patterson, Haiti/USA

LA Muse

A competitive section of world premieres of fiction and documentary films that are quintessentially L.A.

A Beautiful Now, dir. Daniela Amavia, USA, World Premiere

Aram, Aram, dir. Christopher Chambers, USA, World Premiere

Can You Dig This, dir. Delila Vallot, USA, World Premiere

Day Out of Days, dir. Zoe R. Cassavetes, USA, World Premiere

The Drew: No Excuse, Just Produce, dir. Baron Davis, Chad Gordon, USA, World Premiere

The Escort, dir. Will Slocombe, USA, World Premiere

Flock of Dudes, dir. Bob Castrone, USA, World Premiere

French Dirty, dir. Wade Allain-Marcus & Jesse Allain-Marcus, USA, World Premiere

No Más Bebés (No More Babies), dir. Renee Tajima-Peña, USA, World Premiere

Weepah Way for Now, dir. Stephen Ringer, USA, World Premiere

Nightfall

From the bizarre to the horrifying, these are films to watch after dark. Films premiering for the first time in the U.S. are nominated for the Nightfall Award.

Caught, dir. Maggie Kiley, USA, World Premiere

The Confines, dir. Eytan Rockaway, USA, World Premiere

Crumbs, dir. Miguel Llansó, Spain/Ethiopia/Finland, North American Premiere

Crush the Skull, dir. Viet Nguyen, USA, World Premiere

Dude Bro Party Massacre III, dir. Tomm Jacobsen, Michael Rousselet, Jon Salmon, USA, World Premiere

Plan Sexenal (Six Year Plan), dir. Santiago Cendejas, Mexico, North American Premiere

Ratter, dir. Branden Kramer, USA, LA Premiere

Shut In, dir. Adam Schindler, USA, World Premiere

Zeitgeist

A competitive section of curated, World Premiere films that embody key trends in American independent filmmaking. 2015 captures hard knock, coming of age stories.

A Girl Like Grace, dir. Ty Hodges, USA, World Premiere

Band of Robbers, dir. Aaron Nee & Adam Nee, USA, World Premiere

In the Treetops, dir. Matthew Brown, USA, World Premiere

Manifest Destiny, dir. Michael Dwyer, Kaitlin McLaughlin, USA, World Premiere

Stealing Cars, dir. Bradley Kaplan, USA, World Premiere

What Lola Wants, dir. Rupert Glasson, USA, World Premiere

Visit www.lafilmfest.com for more info or to buy tickets.

Two weeks after the controversial conclusion to HBO’s The Jinx, the premium cable network struck again with the television premiere of Alex Gibney’s latest expose, Going Clear: Scientology and the Prison Belief. Ever since the doc first played at Sundance earlier this year, it has been surrounded by high praise for its sheer audacity in uncovering one of the time’s most secretive and powerful organizations. The film’s premiere also was met with wholesale denial from the Scientology community and even direct threats. For Gibney, this is his second film to be distributed by HBO following his 2012 exploration of child abuse in the Catholic Church Mea Maxima Culpa: Silence in the House of God. Gibney’s journalistic style and HBO’s reach have proved to be a good partnership, and along with The Jinx and the recent premiere of Citizenfour, the channel is providing a really nice platform for provocative documentaries to reach into the spotlight. And now see below for other news items you may have missed over the weekend.

Trevor Noah to Become Next Daily Show Host

The search for Jon Stewart’s replacement as the anchor of Comedy Central’s The Daily Show has been one of the most debated and speculated items in a while. It seems to be over as the New York Times is reporting that 31-year-old Daily Show correspondent Trevor Noah has been tabbed as the man. On Friday, Variety saw Noah as the frontrunner for the gig, though no official announcement had been made. Former host Craig Kilborn and Jon Stewart were both in their 30s when they sat at the desk, both viewed as comedy up-and-comers, so this seems like a very consistent move for the network. It also continues the Comedy Central’s streak of being one of the most diverse networks on television.

Gillian Flynn to Write Heist Thriller for Steve McQueen

First reported by Deadline, the author and screenwriter of 2014 hit Gone Girl (seriously, how was she not recognized by the Academy?) is set to adapt 2002 British miniseries Widows for Film 4 and Regency Enterprises. The previous miniseries starred Mercedes Ruehl, Brooke Shields, Rosie Perez and N’Bushe Wright as four widows who look for their husbands’ killer while finishing off a painting heist that led to their deaths. This is a slightly different direction for Flynn, but she’s already shown she can pull off pulpy thrills and snappy dialogue. This may be a bigger change-up for tapped director Steve McQueen, who has primarily worked with very serious material with an artistic sensibility. There is no current timetable for release.

Baumbach’s While We’re Young Huge in Limited Release

After It Follows set a 40k per screen average in its limited release opening, Noah Baumbach’s latest While We’re Young opened in four screens this past weekend to an estimated $60,500 per screen average, the highest since American Sniper took the nation by storm. Despite critical acclaim and his indie cred, Baumbach has never had a bonafide hit at the box office – The Squid and the Whale is his highest grossing film at just $9.4 million. If the hot limited release is any indication, While We’re Young may become his most successful film. It will be expanding over the next few weeks, sure to carve out the indie alternative to the impending blockbuster schedule.

2015 Roger Ebert Film Festival Lineup Announced

Each April, movie lovers from around the world flock to college town Champaign, Illinois to see a five-day festival curated by late film critic Roger Ebert and his wife Chaz. This year’s Ebertfest, the third since Roger’s passing, is focused on new work from some of the critic’s favorite filmmakers. Highlights include opening night selection Goodbye to Language 3D, Ebertfest vet James Ponsoldt’s The End of the Tour, and a tribute to Harold Ramis. You can check out the full festival schedule at the festival website. You should also check out Chaz Ebert’s heartfelt rundown of each selection at RogerEbert.com.

Ugh: Force Majeure Set for Hollywood Remake

One of my favorite films of last year, Swedish dark comedy Force Majeure is already set to get a remake, as reported by The Hollywood Reporter. The film’s premise is certainly broad enough to go in other directions, so let’s hope that the eventual screenwriters decide to do something new with the tale of family, masculinity and vacations-gone-wrong. On the bright side, Julia Louis-Dreyfus will have heavy involvement with the remake, as she is in negotiations to star in the film along with acting as a producer. The Veep star deserves much more time on big screens, and her acerbic wit might be enough to make this thing work.

Trailer of the Week: Dope

One of the first Sundance hits to get a U.S. release date, ’90s hip-hop comedy Dope now also has its first official teaser trailer, which can be seen below. Dope is directed by Rick Famuyiwa and stars Shameik Moore, Zoë Kravitz and Forest Whitaker. It is scheduled for a June 19 release.

We’ve already seen which films took home precious awards from this year’s Sundance Film Festival; Alfonso Gomez-Rejon’s adaptation of Me and Earl and the Dying Girl received top honors winning the Grand Jury Prize for drama (as well as the Audience Award) and The Wolfpack won on the documentary side of things, directing awards went to Robert Eggers for The Witch and Matthew Heineman for Cartel Land, and other winners include Lee Haugen for Dope, Tim Talbott for The Stanford Prison Experiment and sci-fi drama Advantageous.

But which films generated the most buzz on social media? The infographic below (created by Way To Blue, no affiliation with Way Too Indie, we swear!) shows not only which films were most talked about during Sundance, but also which films people intend to view.

Sundance 2015 Social Media Infographic

This measures the proportion of total buzz or conversation which is ‘Intent’ focused or driven, and thus provides a more indicative measure of the impact of social buzz for our clients business, and takes us one step further than awareness. Way To Blue have devised a bespoke keyword search encompassing a range of natural language keyword sets which represent an audience’s intent to view a movie or engage with a brand, for example “gotta see”’, “can’t wait to see” etc. The keyword set is constantly evolving to account for changing colloquialisms, vernacular & languages across our international work, which social media platforms are often so famous for.” This is measured via a bespoke set of keywords WTB have developed to measure and pick up on Intent related conversation within total conversation.