With the Oscar nominations now upon us (see the complete list of nominees), the countdown to see all the nominees is officially on! While most of the Best Picture and big awards contenders are still in theaters or only available on DVD, you can stream many of the potential winners. If you don’t mind paying a few bucks, you can see The Martian, Mad Max: Fury Road, Straight Outta Compton, Sicario, Amy, Cartel Land, The Look of Silence, Racing Extinction, Inside Out, and The Hunting Ground on various Video On-Demand services.

Here are the Oscar nominees you can watch right now on their noted streaming services:

The 100-Year-Old Man Who Climbed Out the Window and Disappeared (Makeup and Hairstyling) – Amazon Prime
Ex Machina (Original Screenplay, Visual Effects) – Amazon Prime
Fifty Shades of Grey (Original Song) – HBO Now
What Happened, Miss Simone? (Documentary) – Netflix
Winter on Fire (Documentary) – Netflix
World of Tomorrow (Animated Short) – Netflix
Youth (Original Song) – Hulu Plus

Or if you are boycotting the Oscars for any one of a million reasons, here are other some other selections new to streaming this weekend for you to check out:

Netflix

Meet the Patels (Geeta Patel & Ravi Patel, 2014)

You’ve probably seen Ravi Patel in a number of movies and television—he’s had notable roles in Transformers, Master of None, Grandfathered and small guest starring roles in many others. In Meet the Patels the actor jumps behind the camera while also being profiled in this documentary about cultural relationships in the technology age. The doc humorously explores Patel’s family and their quest to find him a bride, using both traditional Indian customs and more updated means. The film is lighthearted and funny, but also provides a great look into our cultural differences and the difficulty in finding a successful relationship. We listed it as one of the best documentaries of the year, and you can now stream it on Netflix.

Other titles new to Netflix this week:
In the Basement (Ulrich Seidl, 2014)
The Ladykillers (Joel & Ethan Coen, 2004)
Occupied (Series, Season 1)
The Overnight (Patrick Brice, 2015)
Parks and Recreation (Series, Season 7)

Fandor

House (Nobuhiko Ôbayashi, 1977)

For something on the crazier side of cinema, Ôbayashi’s House (not to be confused with the 80’s American horror franchise) is one of the great haunted house films ever. Seven girls on a summer trip visit the title house, only to be killed and consumed in a number of increasingly bizarre ways—as only the Japanese could conceive. A balance of the creepy, crazy and campy, House has become a cult classic. The film is presented on Fandor as part of their “Criterion Picks” section, this week taking a look at some of the finest felines in the cinema—and, oh yes, is that true for House. Other selections include The Spirit of the Beehive, Kuronenko and Grey Gardens. You can check out these Criterion Picks until January 24.

Other titles new to Fandor this week:
L’Atalante (Jean Vigo, 1934)
Barbara (Christian Petzold, 2012)
Meshes of the Afternoon (Maya Deren & Alexander Hammid, 1943)
Red Hollywood (Thom Andersen & Noel Burch, 1996)
Sans soleil (Chris Marker, 1983)

MUBI

The Pervert’s Guide to Ideology (Sophie Fiennes, 2012)

Following Sophie Fiennes’ (sister of Joseph and Ralph) The Pervert’s Guide to Cinema comes another intellectual look at films which explores how we think and act. The documentary is presented by ultra-serious Slovene philosopher Slavoj Žižek, who dissects a number of popular film clips. The Pervert’s Guide to Ideology is a serious film for serious film fans, but isn’t always as dry as you would expect, mostly due to Fiennes’ direction and often her placement of Žižek. Those who enjoy Thom Andersen’s visual essays on cinema should certainly check this one out. Among the films discussed in the doc are Triumph of the Will, Full Metal Jacket, A Clockwork Orange, Jaws, and Titanic. You can watch the film on MUBI until February 10.

Other titles new to MUBI this week:
Hawaii, Oslo (Erik Poppe, 2004)
In a Glass Cage (gustí Villaronga, 1986)
Little Big Soldier (Sheng Ding, 2010)
Madeinusa (Claudia Llosa, 2006)
Psychohydrography (Peter Bo Rappmund, 2010)

Video On-Demand

The Martian (Ridley Scott, 2015)

One of the many big winners on Oscar nominations day, The Martian, received nominations in Best Picture, Best Actor (Matt Damon), Best Adapted Screenplay, Production Design, Sound Mixing, Sound Editing, and Visual Effects. While it might not be a favorite in any of those given categories, the number of nominations (third most behind The Revenant and Mad Max: Fury Road) shows it to be one of the year’s best. And it’s not just Oscar love as the film won Best Film and Best Actor in the Musical/Comedy cattery at last week’s Golden Globes ceremony. Ridley Scott’s critical comeback is a massive, powerful epic about the power of science and the human spirit. If you didn’t catch The Martian in theaters, now is as good a time as any with it hitting VOD concurrent to its DVD and Blu-ray release.

Other titles new to VOD this week:
Hotel Transylvania 2 (Genndy Tartakovsky, 2015)
Irrational Man (Woody Allen, 2015)
Love & Mercy (Bill Pohlad, 2014)
Moonwalkers (Antoine Bardou-Jacquet, 2015)
Sinister 2 (Ciarán Foy, 2015)

2015 confirmed that the years of movie stars carrying huge box office weight are behind us more than ever. Stars and starlets who heralded huge hits in the past were in some of the biggest flops of 2015; Bill Murray with Rock the Kasbah, Sandra Bullock with Our Brand is Crisis, Hugh Jackman with Pan and Chappie, and Bradley Cooper with Aloha and Burnt. Yet Hollywood works in circles, so someone is bound to rise from the ashes to become a true “movie star”.

In 2014, Chris Pratt became the talk of the town after a giant year with Guardians of the Galaxy and The Lego Movie. He even had a pretty good 2015 starring in Jurassic World. Yet, Pratt doesn’t have all of the characteristics of the Golden Age of Hollywood’s leading men and women. His expressive charisma and good looks don’t completely compensate for his limited range. It’s hard for him to carry a film without strong assistance from a supporting cast, which was noticeable in Guardians of the Galaxy but was more obvious after playing second fiddle to Bryce Dallas Howard in Jurassic World.

Jurassic World movie stars Chris Pratt and Bryce Dallas Howard

Furthermore, Pratt’s mark has never actually been tested; nothing has been sold on his image alone. The Marvel, Jurassic Park, and even Lego brands all have a built-in fan base that assures their films from being box office failures. In fact, many of Marvel’s biggest actors have proven to disappoint outside of the franchise: Chris Evans hasn’t led a non-Marvel film to a gross over $60 million; Robert Downey Jr.’s biggest hits have all been franchise films; Chris Hemsworth has had many leading endeavors tank. Marvel hasn’t historically made any bonafide box office stars; why would Chris Pratt be different?

But another talent has been awoken and he has been thrown into the center of the public’s eye: Oscar Isaac. In Star Wars: The Force Awakens, Isaac’s Poe Dameron isn’t as utilized as heavily as Finn and Rey, but the part does draw resemblance to the introduction of Harrison Ford’s Han Solo in A New Hope. The two are both cocky, sharp-witted pilots who play the magnetic, charming sidekick. What Isaac has in The Force Awakens that Ford didn’t in A New Hope is experience and a tangible acting prowess.

Oscar Isaac as Poe Dameron in Star Wars: The Force Awakens

While A New Hope was essentially Ford’s acting debut, Isaac already has many acting roles under his belt showing his versatility and range. His first leading performance as Llewyn Davis in the Coen Brothers’ Inside Llewyn Davis earned him critical praise and more than a dozen Best Actor mentions. In 2014, he received accolades for his leading performance in A Most Violent Year. And his most impressive box office turn was from this year, Ex Machina, which boasts many critical mentions and award traction.

These indies are obviously in the little leagues when it comes to box office and public visibility, but with The Force Awakens, Oscar Isaac will now become a household name. On top of red carpet events and press conferences, Isaac has been making the rounds on talk shows displaying his confidence and personality. His real life persona is a dashing combination of Pratt’s goofiness and Tom Cruise’s charm, but his talent and scope arguably exceeds them both. Add in his musical talent, and Isaac becomes a double threat that is easy for the public to latch on to.

A pondering Oscar Isaac in Ex Machina

Even though Poe Dameron seems underutilized in The Force Awakens, it’s worth noting that Han Solo’s presence is much more noteworthy in the next two installments of The Empire Strikes Back and Return of the Jedi. With all signs pointing to a derivative series and some characters out of the way, Isaac’s Poe could have much more to do in the next episode. Furthermore, The Force Awakens is only the beginning of Isaac’s blockbuster reign; he is playing the titular villain in the upcoming X-Men film.

With a strong platter of future releases, Oscar Isaac has the potential to latch on to Hollywood and leave a lasting impact. The Star Wars series has started and killed many acting careers, especially Hayden Christensen and Mark Hamill who struggled to brand themselves outside of the series. But Isaac isn’t like these two; he has already proven himself to be strong enough in his past endeavors to outlast the curse. After his franchise contracts run up, he will be one of the most in-demand actors in Hollywood. His possibilities will be endless.

It’s easy to look back over the past 12 months and try to find a common thread, a trend or recurring idea that can make sense of the mass of films unloaded for public viewing. Everyone loves a good narrative, and in a world where chaos reigns, it’s nice to see some order. Indeed, look at the list of our 20 films below and you can see similarities pop up all over: stories of struggles both internal and external, whether it’s fighting the patriarchy of the past, present and postapocalyptic future, facing down the most powerful institutions in the world or the narrative of history itself, escaping captors, making it through wars both sensical and nonsensical, trying to just pay the bills or unshackling oneself from the past. They all share a common bond of people trying their damnedest to succeed, overcome and survive.

But this theme doesn’t apply to every film here, nor does it apply to everything that came out in 2015. Our list also has films that melted our minds, dragged us through the mud, awed us with their grace, and entertained us with their pure, visceral delights. Summing up the year through a neatly packaged narrative is nice, but it’s also far from a true representation of what cinema brings. It’s a messy, chaotic world of movies, and when we put together a list like this the real unifying aspect is their high quality.

From the big, daunting universe of cinema in 2015, Way Too Indie is proud to present what we think are the 20 best films of the year.

Way Too Indie’s 20 Best Films of 2015

#20. Room

In Lenny Abrahamson’s Room, there are no limits to love. A film as simple as it is emotionally sweeping, there are few films released this year that evoked such a visceral emotional response from its audience. The film is an exhilarating thriller portraying a modern nightmare of captivity—a scenario that never ceases to grip the public’s attention when it pops up in the news—but is entirely focused on the will of the human spirit, and the ways we not only survive in such heinous situations but thrive. In the story of Ma (Brie Larson, a career-best performance), and the world she builds for her five-year-old son Jack (Jacob Tremblay, also mesmerizing) within the walls of a tiny room, we are given an example of the purest sort of love. One of sacrifice, fierceness, and audacity. By seeing the universe through the eyes of a small child—a universe at first only four walls wide and then suddenly much, much larger—it’s impossible not to form a renewed appreciation for the simple things in life. But more than that, it’s impossible to walk away from Room and not find oneself profoundly introspective about what it means to actively live and actively love. [Ananda]

#19. Steve Jobs

Somehow, Steve Jobs became persona non grata this fall. Between the box office performance, the fatigue surrounding the subject matter and the behind the scenes issues exposed by the Sony leak, nothing seemed to go quite right for the film. Do not be mistaken, though: Steve Jobs should not be missed. It’s a biopic with an utterly unique structure and breakneck pace. Aaron Sorkin’s script commands the spotlight even more than Michael Fassbender’s stirring performance. The three-day approach proves effective as Sorkin intelligently navigates the inherent limitations, managing to capture the essence and scope of one highly influential man’s life. His conversations are verbally balletic, never ceasing to surprise in their wit, but never stooping to overly showy, self-serving writerly panache. Steve Jobs is a whirlwind of a film, exploding with thunderous brio and making its piercing impact with the ink-dipped arrowhead of a skilled writer’s pen. Its imperfections don’t change the fact that it’s a landmark in biographical filmmaking. [Byron]

#18. Gett: The Trial of Viviane Amsalem

In Gett: The Trial of Viviane Amsalem, Ronit Elkabetz stars as the title character, a woman seeking a divorce from her husband. It sounds simple enough, but the Amsalems are Israeli, and in Israel there is no such thing as a civil marriage; all marriages are granted by Orthodox rabbis in a religious ceremony. Ergo, all marriages must be dissolved the same way. That means the husband give his full consent for a marriage to be dissolved. If he doesn’t want it, she doesn’t get it, and Viviane’s husband doesn’t want a divorce. This turns the film into a fascinating courtroom drama, but not in the traditional sense; rather, it becomes a drama that takes place almost entirely in a courtroom, with the occasional scene occurring in an adjacent waiting room. This gives the film contrasting feelings of intimacy and claustrophobia. Elkabetz is superb as Amsalem, conveying the frustration of a woman trapped in an unhappy marriage and finds herself trapped again, this time in a system that stacks the deck against women and all but ignores them in the process. [Michael]

#17. Hard to Be a God

Rarely have I seen a film’s atmosphere so gorgeously and meticulously realized to the extent of Aleksei German’s final masterwork. Hard to Be a God follows a civilization of men and their out-of-sorts, peculiarly human god. They represent man as a whole, embodying his struggle through the early stages of primality. When do we leave behind beasts and garner the right to call ourselves men? More pressingly, do we ever, or have we been kidding ourselves for the last few thousand years? Hard to Be a God works so well chiefly because it cements itself into a primal world, one dominated by sludge, blood, and shit, so unbelievably well. Furthermore, in lieu of the film’s obvious rejection of sentiment, it is intriguing how it integrates the idea of God into its narrative. It doesn’t suggest that he doesn’t exist or has neglected us, but that he is struggling alongside us and, even more frightening, that he’s just as helpless. German’s magnum opus is a rattling, maddening three-hour journey into the depths of man’s darkest sensibilities. [Cameron]

#16. The Assassin

The moving image is rarely as entrancing as it is in Hou Hsiao-Hsien’s The Assassin, the Taiwanese master’s first film in over seven years. Expensive in its design, methodical in its every graceful move, the film penetrates the mind as swiftly and silently as Shu Qi’s Nie Yinniang disposes of her first target in the picture’s opening moments. Shot on film by Ping Bin Lee and designed by Huang Wen-Yin, Hou’s regular collaborators, The Assassin has a mise-en-scene that’s second to none this year. The subtle phenomenons of nature play a vital supporting role, one in which animals and flora are treated as sharing the same atmosphere with humans. More than any other film of the year, The Assassin shines the brightest light on the unique and boundless nature of its artform. It is spellbinding in every sense of the word. [Nik]

#15. Son of Saul

Son of Saul is a wonderful debut film of filmmaker Laszlo Nemes, which tells the story of Saul (Geza Rohrig), a prisoner and Sonderkommando member at Auschwitz who his searching for a rabbi so he can give his son’s body a proper burial. The film is incredible, from Rohrig’s outstanding performance to Nemes’ fantastic direction (all the more impressive considering it’s his first feature film). But I want to pay special attention to the work of cinematographer Matyas Erdely and the team behind the sound design of the film. Erdely beautifully shoots the film in a tight 4:3 frame, often putting Saul at the center and keeping the eye focused on his actions with most of the settings around him hard to fully take in visually. This is where the sound design is key, as it forces us to imagine the horrors around Saul. Together these elements create a truly unique experience adding up to one of the most powerful films to be released this year. [Ryan]

#14. The Forbidden Room

Guy Maddin and Evan Johnson’s sensational hodgepodge of silent-movie storylines are maniacally cut up into dozens of threads, then re-assembled by two drunk, blindfolded men with a brilliant sense of humor. The Forbidden Room is unlike anything you’ll ever see. Ever, not just in 2015. Studded with stars from all over the world, from the well-known like Charlotte Rampling, Roy Dupuis, and Geraldine Chaplin, to more local faces like Louis Negin and Gregory Hlady, the film is full of greedy volcanos, aswang bananas, catchy musical numbers, delusional doctors, scorned lovers, men breathing oxygen through flapjacks, and mustaches with a life of their own. Relentless with its pacing and editing, it’s not something that’s easily recommended (it broke the record for walk-outs when it screened at Sundance earlier in the year). But, it’s on here for a reason: through the unique structure and absurdist tone lies one of the most heartfelt odes to the wonders of cinematic storytelling. [Nik]

#13. The Look of Silence

The Look of Silence is every bit the masterpiece its companion piece, The Act of Killing, was. Joshua Oppenheimer returns to the residual horror of the Indonesian genocide, this time through the eyes of a victim. An optometrist named Adi Rukun confronts his brother’s killers under the pretense of testing their failing vision, and through his careful questioning the remorseless thought process of a monster is slowly dismantled. If there is any surreal sensibility left over from Oppenheimer’s last film it is in the shadow of death that haunts an eerily quiet land teeming with ghosts crying out in vain. The “silence” of the title is all around, both in the insightfully observed environment and the empty murmurings of men submerged in denial. The capacity human beings have to rationalize and normalize wickedness is on full display, and it’s mesmerizing in a terribly morbid way. Powerful, sobering and absolutely essential. [Byron]

#12. Inside Out

Inside Out is a tearjerker, which comes as no surprise—Pixar has been making us cry like babies for two decades. That’s sort of their whole deal. What makes this particular movie so special is how impossibly elaborate it is, conceptually. To represent one cognitive experience, visually, is a feat in itself. What Pixar’s done here is visually represent dozens and dozens of cognitive experiences and made them work in concert. It’s a tender, inventive, entertaining study on human emotion that speaks to the heart despite being so brainy. It’s also unique in that someone can watch it at five years old and then again at forty and have two wildly different and yet equally profound experiences. Next year, Pixar’s engaging sequel mode again with Finding Dory, but they took a big risk with an out-there movie like Inside Out and proved that there’s no shortage of new ideas coming out of the trailblazing East Bay studio. [Bernard]

#11. Mommy

Young Canadian filmmaker Xavier Dolan came into filmic fruition when he was only nineteen with the release of I Killed My Mother. Almost seven years and five films later, one of the youngest directors in the industry has created one of the most moving films of the 21st century. Despite its 2014 premiere at Cannes, the film did not receive a proper US release until January of 2015, meaning most people didn’t get a chance to experience its profundity until this year. Mommy focuses its narrative on the widow Diane (or “Die,” for short) and her difficult son, newly discharged from a behavioral rehabilitation facility and potentially suffering from a number of psychological disorders that cause him to have angry, violent outbursts. It’s shot in the unique 1:1 aspect ratio, which at first may seem like a peculiar decision, but once you’ve fallen deep into the emotional abyss of this heartbreaking tale, you’ll understand how a stylistic choice can transform into an emotive choice within a matter of seconds. [Eli]

#10. Phoenix

Christian Petzold’s Phoenix is perhaps the best film since the post-war era that deals with the holocaust, even though it’s not as interested in dealing directly with the images and happenings of the holocaust as that statement suggests. Instead, it’s about the scars of tragedy, and how great tragedy has the terrifying power to rob individuals of their identity. The film follows Nelly, a Jew from Berlin, as she returns to her home and her husband after living through the concentration camps. We never see flashbacks of what she went through. She tells us all through the expression stained onto her reconstructed face. Floating through the frame like a ghost, Nelly attempts to piece together her past, and Phoenix is a harrowing testament to how emancipation from tragic circumstance doesn’t erase the psychological wounds said tragedy has inflicted. It also deals with the idea that friends of those affected have absolutely no idea how to respond. How does one respond to such an atrocity? Though not technically a ghost story, Phoenix registers as an emotionally draining portrait of a wandering soul knocking on the door of a world from which she’s been exiled. [Cameron]

#9. Buzzard

Accurately describing Joel Potrykus’ Buzzard is a difficult task. The film doesn’t really fit into a specific genre, and the loose storytelling structure only complicates things on that end. Still, there’s something undeniably captivating about the tale of a millennial burnout that decides to rebel against his routine life. It’s not that the film is particularly relatable—Marty, the protagonist, is the embodiment of the worst society has to offer—but Buzzard takes viewers on a journey that gets far too real at times. Marty’s frustrations with his dead-end job, the boring people around him, and his way of living have the ability to cut very, very deep. From the beginning, Potrykus views a mundane subject with a bizarre lens, and Buzzard only gets weirder and weirder as it progresses. By the conclusion, it’s apparent just how effective the film is, despite its relatively low-key nature. Unlike any film you’ve seen this year, Buzzard is strangely comedic, unexpectedly dark, and certainly worth checking out. [Blair]

#8. Beasts of No Nation

Beasts of No Nation is a special convergence of extra-textual information. Being the first major fiction feature release from streaming outfit Netflix is a big deal, especially since they clearly had aspirations for awards with its purchase. More fitting, it is the first feature film from writer-director Cary Joji Fukunaga following his incredible breakout success with the first season of True Detective. Those already following Fukunaga’s career, however, know just how talented of a storyteller he is. Beasts of No Nation is his highest effort production, an absolutely beautiful film with often intense subject matter. The film studies the rise of young boy Agu (Abraham Attah) through a rebel group of fighters in an unnamed, nondescript African country. Through the eyes of Agu their war is truly unknowable—and the film purposefully makes no effort to help the audience understand what this group is really fighting for. This can be frustrating at times, but Fukunaga is persistent in his focus on tone and the specific actions of its main character. This creates a more ethereal movement, which is all the more frightening given the film’s horrendous nature. Along with Attah, who gives a fantastic and difficult performance for a young and inexperienced actor, Idris Elba’s towering role as the rebel group’s Commandant is among the most complex characters of the year. [Aaron]

#7. The Duke of Burgundy

Love is love, and few films express that statement as strongly as Peter Strickland’s The Duke of Burgundy. Starting out as a cutesy homage to the European erotica films of the ’70s (Jess Franco fans need to run, not walk, to this movie), Strickland explores the BDSM relationship between Cynthia (Sidse Babett Knudsen) and Evelyn (Chiara D’Anna), two women whose “roles” in the relationship don’t exactly match their true selves. With cinematography, production design, and a mood that feels lifted straight out of a dark fairy tale, Strickland’s dreamlike elements work together to heighten the universal truths at his film’s center. Here is a film that understands the work and compromise that comes with a relationship, the constant push and pull between selfishness and selflessness that can threaten to tear people apart, and it’s all shown through a hazy realm that leans more on the side of fantasy than reality. Yet Strickland puts emotions at the forefront, and by doing so lets the strength of Cynthia and Evelyn’s undeniable feelings for each other overshadow the luscious world they reside in. Love stories this original and beautifully realized are so rare, we should feel lucky we even have the chance to see them. [C.J.]

#6. Sicario

After directing a slew of extraordinary films who would have thought cinematic genius Denis Villeneuve’s latest effort would be his strongest and most politically resonant film to date? Well, maybe some, but it’s going to be a daunting task for Villeneuve to keep his streak of brilliance up for much longer; if he does, he’ll be reaching the unspeakable heights of consistency only names like Kubrick and Kieslowski have attained. Sicario concentrates on an FBI agent (Emily Blunt, in a gorgeously realized performance) who pulls herself into quite the plight when she accompanies a government task force on an enigma of a mission along the United States/Mexico border. To say any more about the plot and the manner in which it unfolds would be a disservice to a film with such an airtight narrative structure and masterful pacing. It’s a socioculturally relevant thrill-ride that you’ll have to experience for yourself, but its shocking and increasingly tense nature may be too extreme for some viewers. [Eli]

#5. It Follows

What can be said about It Follows that hasn’t already been said a million times before? It’s one of the greatest horror films to come along in years and a movie that works on multiple levels, with a new discovery being made upon each new viewing. A sexually transmitted monster has all the potential in the world to come across as cheesy, tacky, and otherwise ineffective, but director David Robert Mitchell approaches the subject matter with such a level of genuineness that it’s impossible not to take seriously. Featuring excellent, naturalistic performances from its young, often inexperienced cast, there’s a subtle nature to almost everything about It Follows. From the romance to the horror and even the humor, it’s all downplayed, which makes it all the more effective in the end. Many horror movies fall apart because their characters aren’t relatable, but in the It Follows universe, teenagers behave like teenagers—not like horror movie characters—and the film is all the more impressive because of that. From top to bottom, it’s easy to see why It Follows has been so well-received by audiences and critics alike, and its theatrical success serves as a beacon of hope for the future of independent horror. [Blair]

#4. Carol

There are so many exquisitely composed elements to Todd Haynes’ achingly beautiful new movie Carol that it becomes difficult to single out the aspects that make it so great. There is Phyllis Nagy’s delicate script, adapted from the Patricia Highsmith novel The Price of Salt, which allows the film’s central romantic plot to unfold in a patient and deliberate way. There are the wonderfully ornate period sets and costumes, with bold red accents that jump off the screen thanks to Edward Lachman’s stunning cinematography. And, of course, there are the performances—not just from the always-excellent Cate Blanchett or Audrey Hepburn-esque Rooney Mara—but an earnest Sarah Paulson, a scorned Kyle Chandler, and a sleazy John Magaro, as well.

The first of Haynes’ six feature films in which he didn’t contribute to the script, Carol is the director’s most precise work to date—from its production details to the performances. While the filmmaker’s movies often focus on LGBT identity, the striking thing about the intimacy in Carol is its universality. Therese and Carol are more than women in a lesbian romance affected by the obstacles of a bygone era; they’re people stifled by the expectations placed on each of them.

As Blanchett stares across at Mara over a cocktail or a shop counter, you’ll want to lean in closer, too. The pair’s carefully chosen words tease out the affair. Watching them slowly go back-and-forth, with alluring smirks and guarded looks, is among the most entrancing pleasures in film this year, as is the sound of Cate Blanchett simply saying, “Therese.” [Zach]

#3. Ex Machina

The trio at the heart of filmmaker Alex Garland’s directorial debut, Ex Machina, represents an intricate blend of old and new. Invoking memories of past great fictional characters like Doctors Frankenstein and Moreau, Pinocchio’s creator Geppetto, and even Willie Wonka, is Nathan (Oscar Isaac), the inconceivably wealthy and immeasurably intelligent inventor of a fictional Google-like search engine. Representing the future is Ava (the spellbinding Alicia Vikander), an artificially intelligent robot created by Nathan. Caught between creator and creation is Caleb (Domhnall Gleeson), a whiz of a programmer whom Nathan recruits to test Ava’s believability as an AI, but a simple man nonetheless and the pivotal completing part of this most bizarre of love triangles. As Caleb studies Ava and gradually becomes taken by her, so too does Ava study, and fall for, Caleb. Watching them both is Nathan, whose motives for recruiting Caleb become cloudier as the days pass. What first presents itself as a futuristic drama laced with themes of morality and anchored by a peculiar alpha-male (Isaac is terrific as the genius recluse), gradually becomes a riveting psychological thriller that keeps the viewer captivated and drives to a bold ending. Sci-fi noir is alive and well and is not to be missed with Ex Machina. [Michael]

#2. Spotlight

Tom McCarthy has done the unthinkable. Just one year after directing the horrific flop The Cobbler, McCarthy turns in a film that not just rinses the bad taste out of our mouths from his previous effort, it puts him in the conversation for one of the best films of the year. Spotlight is a gripping newsroom drama based on the Catholic Church’s sex abuse scandal uncovered by the Boston Globe. Though despite the grim subject matter, watching Spotlight unfold is utterly entertaining. That’s because the film keeps its foot on the acceleration for the whole ride, providing plenty of energy and tension without wasting a single moment.

Spotlight is a well-oiled machine firing on all cylinders. Not only does the electrifying pace carry the neatly arranged script, but the ensemble cast puts on a clinic on how to act as a team. It also doesn’t hurt that the cast is comprised of A-listers like Stanley Tucci, Mark Ruffalo, Michael Keaton, Liev Schreiber, and Rachel McAdams, each performing at the top of their game. Any one of them could have stolen the show by flexing their acting muscles; instead, they show discipline by working together, creating incredible chemistry and making the entire film better in the process. Without being exploitative (which would have been easy given the subject), Spotlight exceeds by focusing on the teamwork of its investigative journalism case. The film doesn’t just do a few things right, it does everything right, which is why Spotlight is one of the best procedurals in years. [Dustin]

#1. Mad Max: Fury Road

There are many things I expected from George Miller’s long-awaited next installment/reboot of his Mad Max series. I knew there would be explosions. I knew there would be cars embellished with crazy apocalyptic garnishments. I knew there would be a lot of sand. And I figured there would be a fair amount of zooming vehicles flipping and being walked on as though the laws of physics don’t apply in this futuristic world. I did not expect there to be larger themes than your garden variety hero tale. And I certainly did not expect the hero to not be Mad Max. Waiting 30 years to create the next vision of his gasoline-fueled future, Miller proves he has ungodly amounts of patience. Patience to ensure that technology would catch up with his vision, and patience to ensure that when he told his next story it would be to an audience who could fathom that even in a world of chaos, the significance of equality is fundamental to our humanity and worth fighting like hell for. Not everyone has embraced the surprising themes of Fury Road, but those tickled by just how exciting, fun, and road raging this action film is can’t help but admit that what raises it to perfection are the kick ass ladies leading the charge and the deeper issues they face. Mad Max: Fury Road closes with a quote from the future: “Where must we go…we who wander this Wasteland in search of our better selves?” Miller pushes us to consider our place and responsibility, no matter the wasteland we call home. And like his War Boys, his mouth shiny and chrome, Miller presents his film as though to say “Witness me!” Turns out an action film can be a visual extravaganza and hold itself up with a stiff backbone of ethics and morality. Witness the bar being raised. [Ananda]

2015 has been an interesting year for film to say the least. Unlike years past, there haven’t been those one or two landmark films that cast a shadow on the rest of the field, no Birdman, Boyhood, The Tree of Life, or There Will Be Blood for the film critic intelligentsia and wider moviegoing audience to rally behind in unison.

The filmic pillars of the past twelve months have been not films, but actors. Towering, career-defining performances from surging newcomers and refined Hollywood mainstays alike have wowed audiences in great numbers. Some belong to the best movies of the year; others are transcendent, standing a cut above the movie that harbors them.

With respect and admiration, Way Too Indie presents what we feel were the Best Performances of 2015. Be the roles leading or supporting, male or female, these twenty performances made the biggest impression on us.

Way Too Indie’s 20 Best Performances of 2015

Christopher Abbott – James White

We’re perpetually in close proximity to Christopher Abbott in James White, in which he plays the titular party boy/mama’s boy who flirts with self-destruction as a habit. Death breathes down his neck as he copes with his father’s recent death and prepares for his terminally ill mother’s departure. Abbott is a fireball of anger, frustration, love and regret that director Josh Mond always keeps in plain view, uncomfortable as that can be sometimes. Whether it’s with his slumped-over posture or with the twitch of an eye, Abbott bares James’ soul incrementally, with subtle physical tics and tells that hint at a raging internal war he can hardly contain. This is the kind of role actors live for, and this is the kind of performance that indicates greatness. [Bernard]

Joshua Burge – Buzzard

When Buzzard begins, Joshua Burge’s protagonist Marty is trapped by apathy, and by its finale, he’s fleeing in desperation. Burge characterizes Marty as a deadpan loser, a lower class user trying to milk the system to continue fostering his unimpressive existence. But as Buzzard unfolds, we begin to question exactly why Marty does what he does. Where did his poverty come from? Is the system he abuses perhaps partially responsible for his careless mentality? Burge forces the audience to finally sympathize with Marty long after they’ve (likely) dismissed him as an insolent dweeb. He carves complexity on a face we so easily prejudge and misclassify. Buzzard is a testament to the ability shoe-string budget features have to be meaningful, and Joshua Burge is responsible for a significant amount of its success. [Cameron]

Suzanne Clément – Mommy

In Xavier Dolan’s award-winning Mommy, Suzanne Clement plays the film’s most enigmatic character, Kyla, who lives across the street from the film’s two protagonists, the behaviorally inept Steve (Antoine-Olivier Pilon) and his single mother, Diane (Anne Dorval). Kyla is a complex and potentially traumatized character who has trouble verbalizing herself, symptomatic of the pain of losing a young son, which is revealed through subtle, visual queues early on in the film. Though Clement may not receive as much screen time as Pilon or Dorval (especially during the first half of the film), her understated performance is just as resonant, and for that, she deserves immense recognition. [Eli]

Benicio Del Toro – Sicario

Benicio del Toro has shown us so many dimensions of his gift that he seldom surprises us onscreen. Likewise, he seldom disappoints—he’s one of the best character actors we’ve got. But in Sicario, he changes up his game, playing a Mexican cartel land assassin who’s intimidating in the most frighteningly peculiar way. He doesn’t just beat up his victims and hostages; he invades their space, extracting information by leaning into them with his shoulder (and, in extreme cases, his crotch). His interpretation of the classic hitman archetype is one of the most interesting I’ve seen in years, a more psychologically sick and quietly menacing killer than what we’re used to seeing at the cinema. He isn’t a death machine, but a damaged, tired man who takes no pleasure in the chase but is nevertheless driven to kill by his obsessions. We’ve seen Benicio before, but not quite like this. [Bernard]

Leonardo DiCaprio – The Revenant

In critical assessments of a performance, the lengths to which an actor physically challenges himself can often be the sole takeaway from a film; however, Leonardo DiCaprio’s work in The Revenant goes beyond simply suffering for one’s art. As the vengeance-fueled Hugh Glass, DiCaprio is a constantly compelling force. He crawls through snowbanks with bloodstained hair, strains while climbing up snowy mountainscapes, and practically foams at the mouth while tied to a stretcher during the moment where he’s betrayed. It’s an assaulting experience for both actor and audience. Yet, DiCaprio is such an emotive, vulnerable performer that he never loses sight of the human beneath the flesh wounds. In the nearly three hours of The Revenant, much of which features DiCaprio alone and engulfed by nature, you get a sense of Glass’s thought process from the little hesitations and panicked glances over his shoulders. You see it on his face and in his body language. He’s a man that is beaten and battered, but immensely strong of will. Bringing humanity to the bleakest circumstance in remote locales is among the actor’s greatest achievements in a career full of notable roles. [Zach]

Anne Dorval – Mommy

In Mommy, Anne Dorval delivers one of the best lead performances of the year as a mother struggling to care for and understand her violent son amidst the more common struggles that lower-middle class families face. It’s a performance filled with such power and honesty that it makes this heartbreaking struggle (and the even more heartbreaking moments of fleeting happiness) all the harder to swallow. And like all great performances, Dorval is able to turn on a dime with the material, like when she finds the moments of humor in Xavier Dolan’s wonderful script and nails them. Don’t let this be a performance you miss this year. [Ryan]

Michael Fassbender – Steve Jobs

How does someone step into the shoes of an icon and leave his own indelible impression? It certainly helps to be aided by the staccato rhythms of an Aaron Sorkin script, but in Steve Jobs, Michael Fassbender portrays the late Apple CEO like Silicon Valley’s Gordon Gecko—impossibly charismatic despite a ruthless streak of narcissistic tactics. As Steve Jobs, Fassbender doesn’t quite walk as much as glide from scene to scene. It’s easy to imagine a version of Sorkin’s play-like three-scene structure feeling too “start and stop” but Fassbender expertly throttles the film’s momentum like Travis Pastrana jumping dirt mounds at the X Games. Steve Jobs is an actor’s movie, but it’s Fassbender who handles the brunt of informing relationship through his actions. The magnetism of his performance both makes this movie enthralling and embodies the alluring aspects of Steve Jobs, the man. [Zach]

Nina Hoss – Phoenix

Nina Hoss’ subdued, tour-de-force performance in Christian Petzold’s post-Holocaust psychodrama Phoenix will leave viewers with their jaws firmly planted on the floor. Indeed, the final scene of Phoenix is so breathtaking and cleverly cathartic that it feels like the perfect end to a slow-burning cinematic puzzle. It’s primarily because of Hoss’ restrained performance as Nelly Lenz, the facially-disfigured and unidentifiable concentration camp survivor, that the gradual expansion of the film’s intensity works so well. And her eventual explosion, her emotional release that concludes the film, is simply one for the ages. [Eli]

Oscar Isaac – Ex Machina

While maybe not on the level of his work in A Most Violent Year or Inside Llewyn Davis, Oscar Isaac is always reliable for a good performance, and that doesn’t change here. One moment Isaac’s Nathan can be filling the audience with a sense of uneasy tension before quickly lightening the mood and filling it with laughter. Isaac brings so much charm and mystery to the role that he nearly steals the show from the wonderful Alicia Vikander. Isaac has quickly established himself as one of the better actors working today with a string of great performances; hopefully that streak will continue with his next film, another sci-fi movie called Star something or other. [Ryan]

Richard Jenkins – Bone Tomahawk

As Chicory, the old and seemingly useless town deputy, Richard Jenkins initially appears to be little more than comic relief in Bone Tomahawk. But as time goes on, and our characters make their trek to a shocking and brutal destination, Jenkins slowly but surely walks away with the film. Some credit has to go to S. Craig Zahler’s excellent screenplay, which gradually reveals a more complex character underneath Chicory’s buffoonish surface, although Jenkins’ ability to create such a genuine and sympathetic character from the page is what helps elevate Bone Tomahawk from a low-budget genre pic to a future cult classic. You can see the power of Jenkin’s performance already; despite a small release with little to no fanfare, he managed to get an Indie Spirit Award nomination, a surprising and—for those who’ve seen it—deserving pick. [C.J.]

Brie Larson – Room

The year’s most heart-wrenching film is anchored by one of 2015’s best performances. A young mother kidnapped and locked inside a shed for several years while raising her son, Joy (or “Ma”) is a tangled knot of trauma waiting to come undone. Beginning the film as a warm, protective woman doing whatever she can to shield her boy from their terrible situation, Larson often underplays the predicament. She imbues her character with the belief that if she can provide a sense of normalcy, her son might avoid permanent mental scarring. In the breathtaking moments when Larson has a raw, emotional reaction to the threat against her son, or the hope she retains for his future, her performance elevates Room to a special level of stories about family. When she collects her inevitable Oscar nomination, the broadcast may play a clip of her louder, more dynamic performance from the film’s latter half; however, Larson’s ability to balance emotional pain, world-weariness, naiveté, hopelessness and hope in one role is what makes this performance remarkable. [Zach]

Rooney Mara – Carol

The language of Carol is one communicated through gestures and expressions. Words are held back in almost every line of dialogue, so it’s up to the actors to divulge the psychology of the people they are attempting to embody. Rooney Mara, whose role in many instances is wrongly being credited as supporting, is astonishing in her ability to sculpt depth and humanity within Therese. If she’s hesitant, her hands and eyes will move a certain way. If she’s curious, her eyes will light up. Whether she is speaking or silent, we can always follow the emotional narrative occurring within Therese’s mind, and if that doesn’t speak to the caliber of her performance, I don’t know what does. [Cameron]

Elisabeth Moss – Queen of Earth

Elisabeth Moss’s performance in Queen of Earth is something out of a classic Hollywood melodrama—the kind of performance you would see from Bette Davis or Joan Crawford. From the first frame of the film (a close-up of the actress’ mascara-run face), Moss dominates the screen. Even while she is a wholly exaggerated person by the end of the film, almost animalistic, Moss leaves just enough humanity to ground herself. Director Alex Ross Perry helps give the performance the variance it needs with an out-of-time structure, jumping between past and present, showcasing the many levels of her depression. It’s the highest stakes role of the young actress’ career and she takes the opportunity by both hands, strangling it to unconsciousness. After her highly praised supporting role in Perry’s Listen Up Phillip, their follow-up together shows a fantastic working relationship and hopefully a pairing that will grow over the years. [Aaron]

Cynthia Nixon – James White

The highly underrated Cynthia Nixon provides the backbone to Josh Mond’s stunning debut feature. Nixon casts a strong shadow over the film even when she’s absent from the screen for extended periods. Her performance as a woman suffering from cancer is so fully realized that it’s almost too painful to watch (and probably will be for some). Another great element to her work here is how well she complements Christopher Abbott’s strong work in the title role, giving him so much to work off of. This is truly one of the strongest performances of the decade so far and will hopefully lead to even more equally interesting roles for Cynthia Nixon. [Ryan]

Mark Ruffalo – Spotlight

Mark Ruffalo has spun a pretty interesting career for himself. From his indie beginnings to becoming America’s favorite Hulk, Ruffalo perfectly blends a leading man’s charm with a character actor’s sensibilities. That plays well into his role as Mike Rezendes, a key member of the Boston Globe’s investigative reporting team. The film beautifully creates the team dynamic, but Ruffalo sticks out with the most dynamic emotional moments. The ticks and vocal choices may turn some off, but Rezendes is a fully-formed character. You believe his inner-struggle with the information he has uncovered and his passion for digging deeper. His scenes with Stanley Tucci, playing an attorney who possibly has incriminating evidence against a church official, are a highlight of his performance. They build an important relationship by the end of the film, but it is certainly a process, as the two veteran actors play a game of give-and-take across the film to prove themselves to each other. Above all, Ruffalo portrays the kind of journalist we wish every journalist could be—compassionate, hard working, intelligent, willing to take on the impossible story and push to find the difficult answers. This all comes out of Ruffalo’s workmanlike performance. [Aaron]

Michael Shannon – 99 Homes

When Rick Carver is first seen in 99 Homes, he’s callously insulting a man who just committed suicide moments earlier. At first glance Michael Shannon’s character appears to be a walking symbol of the heinous capitalist practices that created the housing crisis, but Shannon helps complicate things to the film’s benefit. Carver is fully aware of how immoral his actions are, but as he repeatedly points out, he’s merely playing by the same rules as everyone else. He is, much like the film’s protagonist, simply trying to survive and succeed within the system, albeit through more questionable means. It speaks to Shannon’s talents that he can take such an unlikeable character and, by portraying him as a ruthless pragmatist, turn 99 Homes into a more powerful and effective cri de coeur. [C.J.]

Kristen Stewart – Clouds of Sils Maria

The loveliest thing about Kristen Stewart’s performance in Olivier Assayas’ Clouds of Sils Maria is that it hardly feels like a performance. It feels like Kristen Stewart playing herself, only a slightly altered, slightly more cinematic version of herself named Valentine. She has such a natural presence onscreen, speaking and reacting like a normal human being while acting as the voice of reason for her boss and good friend (played by Juliette Binoche). In Clouds, Stewart is not only the most likable character, she’s also the most mysterious, albeit in a very simple way; for most of its runtime, there’s very little mystery to Valentine at all. Then, suddenly, a shift in the third act forces viewers to think about the significance of her character’s presence (in the context of the film’s themes) and, as a result, Clouds’ enigmatic nature multiplies. [Eli]

Mya Taylor – Tangerine

A lot of attention has been paid to Kitana Kiki Rodriguez’s lead performance in as Sin-Dee in Tangerine, and rightly so; it’s a brash, uncompromising and great turn from a first-time actress. But if Rodriguez is the ball of furious energy that keeps Tangerine going, then think of Mya Taylor as the film’s beating heart. Playing Alexandra, the more subdued friend of Sin-Dee, Taylor acts with a confidence and naturalism that prevents the film from veering too far off the map. Rodriguez may dominate the screen, but Taylor is the perfect, sensitive yin to her boisterous yang, and by the end it’s impossible not to recognize how vital Taylor’s performance is to the film’s success. [C.J.]

Alicia Vikander – Ex Machina

We might look back at 2015 as the year of Alicia Vikander. Overall, she had four great performances this year, including the romantic sidekick in the pulpy The Man from U.N.C.L.E. and two finely tuned dramatic turns in Testament of Youth and The Danish Girl. It’s her role as an A.I. in Alex Garland’s Ex Machina that leaves the biggest impression, though. Her role in the film is to basically prove the Turing test through a sequence of interviews with lonely programmer Caleb (Domhnall Gleeson). Ex Machina‘s wonderful character design and effects go a long way, but nothing would work without her central performance. Vikander plays Ava with a softness and fragility that makes her completely irresistible to both Caleb and viewers. Her curiosity pierces through the usual robot affectations that Vikander wears well. She has to be both human and machine, hero and villain, and convincing enough to work within the film’s plot conceit. Her ability to effortlessly manage all of these complex layers is one of the most impressive feats we’ve seen all year. [Aaron]

Kōji Yakusho – The World of Kanako

In The World of Kanako, Kōji Yakusho portrays a man living in a perpetual state of dazed anger. He drinks himself half to death and has a long list of pent-up regrets and fears that orchestrate his emotional instability. When his daughter, Kanako, goes missing, he finds a direction in which to point his abstract fury. What Yakusho gives us in bringing this character to life is a master class in expressive body acting. Twitching, howling, and never failing to interact with his environment, Yakusho pulls no punches, diving into the core of his character’s deranged headspace and demented patriarchal rage. [Cameron]

]]> http://waytooindie.com/features/20-best-performances-of-2015/feed/ 0 http://waytooindie.com/news/now-streaming-movies-tv-this-weekend-july-17/ http://waytooindie.com/news/now-streaming-movies-tv-this-weekend-july-17/#respond Fri, 17 Jul 2015 15:35:29 +0000 http://waytooindie.com/?p=38496

Netflix has become the standard bearer for original content from a streaming service—not only in terms of their ever-growing catalog of traditional television series, but soon with original films from major stars and top indie directors. Amazon Prime may be well behind, even with hits like Transparent and Catastrophe, but they are looking to take a step in the original movie biz before they get too far behind. It was announced this week that Amazon Studios has purchased its first film to distribute, the upcoming Spike Lee look at inner-city violence Chiraq. In their exclusive, The Hollywood Reporter noted that the film will first receive a coveted December theatrical release with hopes of Oscar before being made available “relatively quickly to Amazon Prime customers” to stream. Piggybacking on last week’s streaming news on Paramount’s plans to release films more quickly to VOD, this is more evidence of the industry becoming more aware of and open to the benefits of streaming and more big-time projects are sure to follow. Before all of your favorite directors sign exclusive rights to stream their newest films, check below to see new titles that you can watch from home this weekend.

Netflix

Tig (Kristina Goolsby & Ashley York, 2015)

One underplayed but very important segment of Netflix’s original content plan are stand-up comedy concert films. If you are a comedy buff, there is a near-endless selection of specials to view from the very best in the business—Louis C.K., Kevin Hart, John Hodgman, Aziz Ansari and Mike Birbiglia all have a home on Netflix and the service seems to add more and more every week. Though not solely a stand-up special, the newest Netflix original documentary is a look into the life and work of one of the best alt comics of this generation, Tig Notaro. Tig picks up with its very funny subject days after she has been diagnosed with cancer, making it much more than a typical comedian profile. Notaro’s unique comedic voice and personality is really enough to sustain the film, but the added perspective gained through her tough situation will give her fans a deeper connection. Read our review of Tig.

Other titles new to Netflix this week:
Bojack Horseman (Season 2)
Creep (Patrick Brice, 2014)
Da Sweet Blood of Jesus (Spike Lee, 2014)
Goodbye to All That (Angus MacLachlan, 2014)
These Final Hours (Zak Hilditch, 2013)

Fandor

The Spirit of the Beehive (Víctor Erice, 1973)

One of the most imaginative films ever made, Victor Erice’s The Spirit of the Beehive showcases the power of cinema when a young girl in rural Spain sees James Whales’s Frankenstein. Young Ana is so transfixed and curious about the experience that she escapes into a fantasy world where she can leave her brutally turbulent life behind. If you love Pan’s Labyrinth, this film is a must watch, as it heavily inspired del Toro. As part of Fandor’s “Criterion Picks,” The Spirit of the Beehive is only available to stream for a limited time. Also new to Fandor is their next Spotlight series—“Game Changers,” a collection of thrilling sports documentaries and dramas. Films in the series include Hoop Dreams, Harvard Beats Yale 29-29, Fake It So Real, Headin’ Home: a biopic of Babe Ruth starring Babe Ruth as himself, and Boxing Cats: a short actuality film from the silent era where someone put tiny boxing gloves on house cats and staged a championship bout. That last one is worth the subscription cost alone.

Other titles new to Fandor this week:
Being Two Isn’t Easy (Kon Ichikawa, 1962)
Mouchette (Robert Bresson, 1967)
The Unstable Object (Daniel Eisenberg, 2011)
Warrendale (Allan King, 1967)
Where Is My Friend’s House? (Abbas Kiarostami, 1987)

MUBI

The Turin Horse (Béla Tarr & Ágnes Hranitzky, 2011)

If you have two and a half hours free, you do spend it in many worse ways than watching Béla Tarr’s minimalist masterpiece. Tarr has built his reputation on snail-paced but powerful films, with The Turin Horse one of his most striking. The film has a very interesting philosophical supposition—jumping off of a story that Friedrich Nietzsche sees a carriage driver whipping his horse, then puts his arms around the horse to protect it from the beating. Immediately after, Nietzsche would be diagnosed with mental illness and never speak again for the rest of his life. The punchline to the tale is “We do not know what happened to the horse.” The Turin Horse tells the following story of the horse, farmer and his daughter in the sometime-serene, sometime-brutal Polish landscape. Much of what we see are daily routines of their lives (the unnamed daughter peeling potatoes is a particular recurring scene), and ultimately becomes a mesmerizing showcase of editing, cinematography, set production and patience.

Other titles new to MUBI this week:
Aelita: Queen of Mars (Yakov Protazanov, 1924)
Marley (Kevin Macdonald, 2012)
The Past Is a Grotesque Animal (Jason Miller, 2014)
Quadrophenia (Franc Roddam, 1979)
Syndromes and a Century (Apichatpong Weerasethakul, 2006)

VOD & Digital HD

Far from the Madding Crowd (Thomas Vinterberg, 2015)

Vinterberg’s follow up to the stunning and suffocating The Hunt is the equally stunning, but much more easy-going adaptation of the popular Thomas Hardy novel Far from the Madding Crowd. The film stars the always dependable Carey Mulligan as an fiercely independent woman who inherits a large farm and attracts three very different suitors—the most dreamy (editorializing) being Matthias Schoenaerts (Rust and Bone, Bullhead) as Gabriel Oak, a farm hand with a shared history. It might be a peculiar change in direction for the Danish filmmaker, but Vinterberg brings in a sure hand and naturalistic perspective to what could be just another boring British romance novel adaptation. With lush cinematography and a very talented cast, rounded out by Michael Sheen and Tom Sturridge, it will likely stand as one of the most emotionally searing, gorgeous films of the year. If you don’t live close enough to an arthouse cinema where it would have played during its limited theatrical release, it’s now available to rent or buy on iTunes.

Other titles new to VOD this week:
Clouds of Sils Maria (Olivier Assayas, 2014)
Dior and I (Frédéric Tcheng, 2014)
Ex Machina (Alex Garland, 2015)
It Follows (David Robert Mitchell, 2014)
The Salt of the Earth (Juliano Ribeiro Salgado & Wim Wenders, 2014)

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Well that was fast. Seems like just yesterday we were recalling our favorite movie moments from 2014. It’s hard to believe but we’re already halfway into 2015! So it’s time for us to reflect back on all the releases since January. Sure, the year has given us a fair amount of flops, like Tomorrowland, Paul Blart: Mall Cop 2, Hot Pursuit, The Cobbler, Aloha, and Entourage to name a few, but luckily in the deluge of releases we’ve come to expect these days, 2015 has delivered a few films worth flocking to theaters for.

There’s something for everyone on our list of the Best Films of 2015 So Far. Eclectic even for us, our diverse inventory includes some of last year’s Cannes Film Festival standouts, a must-see horror film, a Wes Anderson-esque western, several low-budget indies, and to round things out, a big studio action film who’s inclusion among our favorites is one of the more intriguing and pleasant surprises 2015 has thrown at us.

There’s plenty to look forward to later on in the year—we’re looking at you Knight of Cups—but in the meantime rest assured you already have some watching to keep you busy as Summer begins.

Way Too Indie’s Best Films of 2015 So Far

#20. Clouds of Sils Maria

There are few better words than “layered” to describe the labyrinth that is Oliver Assayas’ Clouds of Sils Maria, which made Kristen Stewart the first ever American to win Best Supporting Actress at France’s prestigious César awards. Normally this external detail might prove irrelevant to the work itself, but for a film that focuses so strongly on the generation gap and the notion of aging in the entertainment industry, the fact that Stewart’s subtle performance has overshadowed Juliette Binoche’s more sensational lead performance on the awards circuit is interesting in a self-referential sort of way. Indeed, the concept of parallels seems to go hand in hand with the predicament that Binoche’s character, Maria, finds herself in when she agrees to take part in a revival of the play that once upon a time sparked her career. However, issues of identity and the psychology of the performer are explored when Maria’s original role of Sigrid is given up to a young Hollywood celebrity, and she is forced to play the girl’s opposite as the older and more fragile Helena. Clouds will likely be remembered for its terrific performances, but Assayas’ writing and direction are what allow it to take some strangely enigmatic turns, especially in the second and third acts. It’s these puzzling moments that raise thought-provoking but potentially unanswerable questions in the mind of the viewer, and transform the experience, as a whole, into a difficult one to shake. [Eli]

#19. Faults

This feature debut from Riley Stearns contains just the right combination of absurdity and hilarity to make it one of the most entertaining movies of the year. Much of the success of Faults comes from the brilliant lead performance of Leland Orser, who plays an eccentric cult deprogrammer on the decline of his career. In order to pay back his agent from his recent book tour failure, he takes on a job to deprogram a woman (Mary Elizabeth Winstead) currently under a cult spell. From there, the film evolves into a thrilling chamber piece with unpredictable outcomes. Stearns crafts a wildly hypnotic film from a bare bones setup, establishing himself as an upcoming director worth keeping an eye on. With Orser and Winstead at the top of their game, Faults stands out as one of the best indie debuts of the year. [Dustin]

#18. Seymour: An Introduction

The old saying “those who can’t do teach” doesn’t apply to Seymour Bernstien, a legendary concert pianist who, at the peak of his career, gave it all up to become a music instructor and composer. Ethan Hawke, one of Seymour’s most famous pupils, made Seymour: An Introduction as both a documentary tribute to his mentor and a megaphone through which the 85-year-old’s wisdom and philosophies can touch those around the world, beyond his cozy NYC apartment. It’s a strikingly cinematic documentary about a man who’s developed an ultimate understanding of the link between music and life itself. A sampling: “You can establish so deep an accord between your musical self and your personal self that eventually music and life will interact in a never-ending cycle of fulfillment,” Seymour says on-camera. The man’s a master on the keys, but has a way of making words sing, too. [Bernard]

#17. Me and Earl and the Dying Girl

Me & Earl & the Dying Girl, the arthouse response to The Fault in Our Stars, isn’t quite the genre-redefining coming-of-age film some made it out to be when it premiered and won at Sundance last January. But it’s still a charming and likable enough film that supplies a nice alternative to the constant assault of summer blockbusters like Jurassic World and Terminator Genisys. Thomas Mann, in the lead role of Greg (the ‘Me’ of the film’s title), turns in a good performance that shows some promise for a career that initially started with duds like Project X, but it’s Olivia Cooke who really shines as his classmate who has recently been diagnosed with cancer. And Jon Bernthal continues his streak of great supporting turns; someone give this guy a much deserved leading role already! [Ryan]

#16. Jauja

Transfixing. That’s the first word that comes to my mind when I think about Lisandro Alonso’s fiercely strange Jauja. Filmed in a vintage 1.33:1 Aspect Ratio, the film boxes in its characters in a squircle with seemingly magical capabilities and, by way of a cinematography that’s got a wondrous use for depth-of-field and a mise-en-scene that engages empty spaces like no other film this decade, it creates a magnetic bridge between audience and screen. To put it another way, watching Jauja is to cinephiles what going to church on Sundays is to devout theists; an altogether spiritual experience. It’s set during the time of conquistadors, and first half is easy enough to follow; Danish Captain Gunnar Dinesen (Viggo Mortensen) brings along his daughter Ingeborg (Viilbjørk Malling Agger) on a joint expedition with an allied Spanish infantry. There’s tell of a mysterious army general who has vanished into the desert, never to be seen again, and when Inge disappears one night, Dinesen must gaze into the abyss of this desert in order to find her. That’s when the second half of the film takes over; surreal, compelling, and intimate, the film takes on transportational qualities as we follow the more and more perplexed Denisen. The allure of Jauja is almost as hard to explain as Dinesen’s conversation with the woman in the cave, and it’s got “acquired taste” written all over it, but for fans of meticulous shot composition, and a vibe that’s neither wholly David Lynch or wholly Andrei Tarkovsky, but some transmutated hybrid of the two, it’s a film that dives into the beyond and comes up for air with a plethora of treasures. Alonso is an arthouse storyteller known for stretching out thin plots and narratives in lieu of a viscerally visual journey, and Jauja is his most unforgettable one yet. [Nik]

#15. Heaven Knows What

Based on lead actress Arielle Holmes’ unpublished autobiographical novel, “Mad Love in New York City,” the Safdie Brothers’ newest output reaches uniquely authentic heights, primarily through Holmes’ distinct performance as Harley: a fictionalized depiction of her homeless and heroin-addicted former self. This imitation of life may be the closest to pure documentary that the world of fiction filmmaking has been in some time. To see Holmes maneuver her way through a simulated version of her troubled past is already haunting, but juxtaposed with Sean Price Williams’ floating camera and Isao Tomita’s heavy electronic synthesizer score, the film’s hyper-realism frequently borders on dreamlike surrealism and hits some unforgettable notes. Much of the film consists of Harley’s endless attempts to satisfy her insatiable appetite for a fix, as well as her interactions with other drug addicted and alcoholic members of the New York City homeless population. The repetitive and consistently uncomfortable nature of the film may repel some viewers, but for those fascinated by cinema that replicates reality on a deeper level than the norm, Heaven Knows What may end up being one of the year’s biggest surprises. [Eli]

#14. Appropriate Behavior

I find it quite fitting that Desiree Akhavan’s film début (writing, directing and starring) was the first that I watched and reviewed in 2015, and here it now finds its place among the best we’ve seen so far. Not a bad way to start the year, I’d say. This hipster Iranian-American bisexual rom-com feels as fresh as HBO’s Girls did back in 2012, but with an added diversity that show has always been sorely lacking in. Her jokes have the audacity of Broad City but with the wit of Woody Allen. As the film’s star, Akhavan portrays Shirin, a woman dealing with a break-up from the woman she sincerely loved while hashing through her naïve cultural confusion and general millennial narcissism. The film is at its most hilarious when exposing the ridiculousness of the young urban elite and their kombucha drinking, co-op volunteering, entirely self-conscious faux heroism. But while poking fun at her own generation, Akhavan adds a sense of romanticism even while being a woman behaving badly. On a list sorely lacking in comedy, you can be sure Appropriate Behavior has earned its spot here by being tear-inducingly funny and unapologetically sincere. [Ananda]

#13. Li’l Quinquin

Bruno Dumont’s Li’l Quinquin is, by a wide margin, the funniest film of 2015 so far, and that’s saying something considering how downright grisly it can be. Starting off as a sort of French rural riff on the recent surge of murder mystery miniseries, Quinquin follows the residents of a small countryside village when someone starts chopping up townspeople and stuffing their body parts into cows. As the 200 minute film—originally a 4-part miniseries in France—gets closer to finding a possible suspect, it becomes apparent that Dumont has little interest in solving the case. What begins as a quirky whodunit gradually transforms itself into an exploration of humanity, mainly our capacity to do good and/or evil. But even that reading is a bit of a reductive take on Dumont’s complex, philosophical and frequently uproarious work. People unaware of Dumont’s films will find Li’l Quinquin to be a great starting point, and those already familiar with his output should be shocked to find that he’s been hiding such an incredible sense of humor for this long. [C.J.]

#12. Girlhood

Every 16-year-old girl ought to have the world at her feet. Not all do. Marieme (Karidja Touré), the central character in Girlhood (Bande de Filles), does not. When she realizes she must do something to untether herself from a dead-end home life that includes a disinterested mother and an abusive older brother, her hopes of a higher education as a means of escape are dashed. It’s the film’s most devastating scene. When she says to her offscreen guidance counselor, “I want to be like others. Normal,” she is met with, “It’s a bit too late for that.” At 16 years old, she’s told it’s too late to make a positive change in her life. She remains undaunted, and instead looks for something else. This sets in motion a series of decisions and events that, in the hands of writer/director Céline Sciamma, resonate like those in other great coming-of-age films, yet remain completely devoid of the melodrama so prevalent in those films. It’s a remarkably genuine approach that not only grounds the film in terrific realism, it keeps the viewer highly engaged because all expectations of cliché are shattered. This refreshing take on the struggles of a lower-class teen is enhanced greatly by the talent and beauty of first-timer Touré. She is undaunted by the hopelessness of her situation, yet she never comes across as the type who dots her eyes with hearts, instead conveying sweet innocence in a hardscrabble shell that is simultaneously sympathetic and inspirational. It’s a performance worthy of praise in a film worthy of this list. [Michael]

#11. Gett: The Trial of Viviane Amsalem

In Gett: The Trial of Viviane Amsalem, Ronit Elkabetz stars as Viviane Amsalem, a woman seeking a divorce from her husband, Elisha (Simon Abkarian). This is the basic concept, but nothing else about the film is basic. It’s set in Israel, where there is no such thing as a civil marriage; each marriage is performed as part of a religious ceremony, and must be dissolved that way, too. Based on religious tenets, a husband must give his full consent for a marriage to be dissolved, and if he doesn’t want the divorce, the divorce doesn’t happen. Suddenly, this woman who has been trapped in an unhappy marriage finds herself trapped again—a prisoner of a system that stacks the deck against the same women it all but ignores in the first place. This makes the rules as much the antagonist of the film as the husband, if not more so, and it’s the film’s stroke of genius. Co-written/co-directed by star Elkabetz and her brother Shlomi, the film is a courtroom drama like I’ve never seen before, morphing from a tale of a wife trapped in a bad marriage to a commentary on a culture that treats women as afterthoughts. Not only is Elkabetz’s co-direction sensational, her performance is unforgettable as well. As the woman who will not be denied no matter how many men get in her way (husband, judges, witnesses), Elkabetz shows the weariness and frustration borne of years of roadblocks (the film spans five years!), with a steely layer of resolve beneath. With terrific storytelling fundamentals, compelling emotional depth, and crackling dialogue, the Elkabetz siblings could be Israeli filmmaking’s answer to the Coen Brothers. [Michael]

#10. White God

White God, which premiered and emerged victorious in the Un Certain Regard section of last year’s Cannes Film Festival, is a harrowing, brutal melodrama about animal cruelty that equally serves as a metaphorical story of class/race issues that have always troubled society. While the film sometimes falls short of fully realizing its potential due to shifting tones and a couple other missteps, it’s original and far too interesting to pass over. The film also features some of the most wonderfully cinematic images and some of the best editing of any film to be released so far this year. So if you missed White God during its limited theatrical run in the U.S. this past March then keep your eye out for it when it’s released on blu-ray and DVD July 28th. [Ryan]

#9. Hard to Be a God

Conceived in the 1960s, shot in the 2000s, and finally finished in 2013, Aleksei German’s magnum opus Hard to Be a God could easily claim the title of filthiest movie ever made without anyone batting an eye. German’s sci-fi adaptation takes place in the future, but the setting is like entering a time machine into the past; a recently discovered planet that’s just like Earth, except the planet’s civilization is currently living out its pre-Renaissance phase. The camera, always moving and in deep focus, captures it all with a realism and sense of immersion that few films have achieved before, making Hard to Be a God a simultaneously grueling and exhilarating experience. Not many people will be up for German’s challenge here, but those willing to roll around in the mud will find themselves awestruck at the staggering, groundbreaking vision on display. Some films are hard to shake off, but Hard to Be a God is in a class of its own; this is a movie you have to scrub off. [C.J.]

#8. Slow West

Before a frame was even shot, Slow West was flooded with promise. The feature-length directorial debut of John Maclean (DJ of the disbanded The Beta Band) stars Michael Fassbender and Ben Mendelsohn in two of the central roles. Surely the film would be interesting, but what resulted was something more. Following Jay (Kodi Smit-McPhee) across the American West as he searches for the love of his young life, Slow West could have simply been a solid western. Instead, Maclean and company aimed higher: an absurdist send up of the genre, a coming of age cautionary tale, and a moralist adventure all in a simmering 83 minutes. Slow West is a rollickingly fun western, in equal measures tense and hilarious, absurd and painful. But what’s more is the astounding promise it shows of first-timer Maclean. Whatever he’s got cooking up next (hopefully another vehicle for his buddy Fassy) we’ll be there. [Gary]

#7. The Duke of Burgundy

Peter Strickland’s sumptuous tale of a rocky lesbian relationship inside a surreal BDSM bubble came out at the very beginning of the year, and still beats the competition in terms of pure cinematic sensuality. The narrative follows butterfly expert Cynthia (Danish vet Sidse Babett Knudsen) and her younger lover, Evelyn (Italian debutante Chiara D’Anna), as they cope with ebbs and flows of a deep relationship that’s starting to lose steam, noticed mostly through the oft-hilarious cracks in their masochistic role-playing scenarios. The Duke of Burgundy has a perfect balance of fearless indulgence, and is incredible on multiple levels thanks to Strickland’s methods of cinematic persuasion; his use of a hauntingly romantic score by Cat’s Eye, visually stunning montages that are edited in staccato-like fashion and pledge allegiance to Stan Brakhage’s chaos of celluloid, and setting his story in what looks like an enchanted château from Renaissance Era folklore. The Duke of Burgundy is above all else a tight embrace of everything that sets cinema apart from all other arts. Add to that the re-definition of “toilet humor,” the evocative lead performances that beautifully compliment each other in the way they contrast, and the unadulterated imagination at work—from the costumes to the butterflies, and the all-female world with no sense of time or place,—and you have a film that breaks conventional cinematic barriers in order to express something infinitely universal; love. In all its kinky, silky, paranoid, powerful, glory. [Nik]

#6. Buzzard

Buzzard isn’t a complicated film, but I find it difficult to describe in any intelligent way. But that doesn’t mean I can’t be completely confounded and charmed by its off-kilter sensibilities. As you are more than likely to not have seen Buzzard, here’s a little on the plot: Marty is a temp office worker, video game and horror film aficionado, overall slacker in the suburbs of Detroit. As he makes increasingly outrageously dumb decisions, he becomes more and more paranoid that the authorities (or something even more sinister) are out to get him. The film is a punk splashed throwback with its roots calling back to Alex Cox. Buzzard recent ties are to the comedy of Quentin Dupieux and Tim & Eric, and it more than holds its own against these more established and polished figures. There really isn’t much more I can say about the film than it is delightfully weird, awkward, and very, very cool. Joel Potrykus’s sophomore feature will hopefully be his indie breakout, though I surely hope he never loses his edge. [Aaron]

#5. It Follows

It Follows carves fresh terrain for horror movies, turning the sound of approaching footsteps into a signal of terror. David Robert Mitchell’s stylistic second feature film is a creepy, fun experience wholly unique in its approach. When a new boyfriend passes a sexually transmitted demon onto Jay (Maika Monroe), she and her friends work together to dispose of the monster and rid Jay of her curse. With striking cinematography and nods to John Carpenter classics (notably its ominous, synth-heavy score), the unsettlingly tense terror created in this film is surely among the greatest scary movies in recent memory.

Rather than make the true source of his scares the It Follows monster itself, the director Mitchell utilizes long takes that often place the demon off in the background slowly encroaching on Jay and her friends. The longer that a shot lingers, the more your dread will build. It Follows is a masterwork in the manipulation of anxieties. Its terrifying encounters with an unforgettable villain and the haunting imagery in It Follows leaves a chilling impact that will make you wonder what’s behind you. [Zachary]

#4. Wild Tales

With Wild Tales, Damian Szifron reminds us that, deep down, we’re all a bunch of filthy animals. The characters in this blissfully chaotic anthology movie do things we wish we had the balls to do, breaking free of their societal restraints to indulge in the sweet nectar of violence, revenge, greed and infidelity. Each of the film’s six short stories are insanely entertaining in their own way, and though terrible, terrible things happen across the board, the biggest surprise is how much fun it is to watch these people’s lives fall apart. Maybe it’s cathartic, maybe there’s a bit of wish-fulfillment going on, or maybe it’s just good, old-fashioned, pulpy entertainment. Wherever the film’s true appeal lies, what’s abundantly clear is that Szifron is a badass storyteller with a unique vision. In the film’s final story, a man stands over his lover. He hurt her badly, and she’s hurt him right back. They’ve raged and cried and thrashed at each other, and now they’re drained, stripped of everything. He opens his arms and doesn’t say a word, but she hears him loud and clear. “This is us, baby. We’re filthy animals, but at least we’ve got each other.” We’ve all got a wild side, and Wild Tales reminds us to embrace it because it’s what makes us human. [Bernard]

#3. Mommy

Love as the bond between mother and son is the subject for Xavier Dolan’s latest and perhaps best release so far Mommy. Following a widowed single mother struggling to make ends meet, Diane (Anne Dorval) raises her violent, ADHD son Steve (Antoine-Olivier Pilon), with the help of Kyla (Suzanne Clement), a mysterious neighbor who has a curious verbal tick. Together, the three lost souls function as a patchwork family unit, accomplishing more together than they would be capable of apart. Although the movie concerns itself with characters managing in difficult circumstances, the energy with which Dolan allows the story to unfold gives the film surges of stylistic adrenaline.

Shot in a 1:1 frame with warm, yellow hues that somewhat resemble an Instagram video, Dolan’s camera moves frenetically, whipping from one side of a conversation to the other in order to accommodate Mommy’s tight aspect ratio. The square frame helps draw the viewer’s eye inward toward the middle of the picture, providing an intimate view of these characters as they have deeply personal experiences. Through adversity Mommy remains an exuberant celebration of minor daily achievements, emphasizing that attitude often dictates outcomes. This is a deeply empathetic movie with several heart-wrenching sequences. All of this comes accompanied by an assortment of iconic late ’90s needle drops (“Colorblind” by Counting Crows, “Blue (Da Ba Dee)” by Eiffel 65, “Wonderwall” by Oasis) and the best use of a Lana Del Ray song in cinema yet. [Zachary]

#2. Ex Machina

It’s no surprise that début film director Alex Garland made his chops for years as a screenwriter—his script for Ex Machina is one of the best sci-fi scripts in years. There is always a particular balance that has to be struck with good, smart science fiction, wherein the intellectual scientific and philosophical concepts need to be accessible while not watered down for mass consumption. The film is primarily a film made up of conversations between two people at a time (either programmer whiz Caleb and towering genius Nathan, or Caleb and femmebot Ava), and the dialogue is sparkling, full of lofty ideas and technical jargon without much of a reference key. I’ll admit there were times that I felt a little left behind in the conversation, and I frankly should be when two very smart people are talking about very smart ideas. That doesn’t mean that I couldn’t follow what was going on or felt the film was intellectually impenetrable, because its simplified location and high-concept premise, along with its eventual genre trappings, kept it all accessible. This all helps Ex Machina to be a unique science fiction film while tackling familiar science fiction themes. The three primary leads all give very different but equally brilliant performances, but Alicia Vikander rightly has gotten the most attention for her breakout role as A.I. seductress Ava. Simply put, if the actress in the Ava role doesn’t deliver, the film doesn’t work. Because a majority of the film’s premise has Caleb literally testing Ava to see if she has the capacity to be human, the audience is focused in on every word she says and motion she makes. It’s not really a spoiler to say that Caleb is fooled in ways, and so was I. [Aaron]

#1. Mad Max: Fury Road

His name is Max. His world is fire and blood. And this movie is barely even about him. How did a not-so-indie summer blockbuster action flick make it to the coveted #1 spot on this list? By doing what indie films do best—bring innovation to the big screen. In this way Mad Max: Fury Road is the most indie-spirited film out this year. Director George Miller, who made the original Mad Max for less than half a million dollars, and who has maintained that indie spark, is a patient man, who waited until the time was ripe and technology could accommodate his vision. Never has such patience paid off quite so well. Literally—as this film is doing nicely at the box office—but also in providing one of the most provocative action films to come out of the genre. Forget that its visuals are beyond stunning and its pace remains breakneck with hardly a second to catch one’s breath, it has sparked some of the most lively conversation of the year around feminism, female film leads (like I said, this film isn’t really all that focused on Max, it’s Charlize Theron’s Furiosa who should have top billing), and the surprising social commentary a post-apocalyptic action film can stir up on such lofty subjects as injustice, slavery, objectification, and male-dominance. Those who don’t want to think can enjoy the visuals, fast cars, and flame-throwing, but those who find an added pensiveness to their action film to be an invigorating bonus, will find Fury Road to be a whole new kind of avant-garde. [Ananda]

On this week’s show Bernard is joined by CJ, a.k.a. “The Dastardly Dissenter,” who lives up to his alliterative moniker by going head-to-head with Bernard as they review Sundance darling Me and Earl and the Dying Girl, which nearly moved Bernard to tears and moved CJ closer to the theater exit. The boys also share their favorite movies about making movies and take a look back at the year in movies that was 2015. All that, plus some ripe Indie Picks on this very contentious episode of the Way Too Indiecast.

Topics

• Indie Picks of the Week (2:05)
• Thoughts on 2015 Films (8:20)
• Favorite Movies About Making Movies (27:48)
• Me & Earl & the Dying Girl Review (41:53)

WTI Articles Referenced in the Podcast

Me and Earl and the Dying Girl interview
Hard to Be a God review
Wild Tales festival review
Tu Dors Nicole review
Jauja review
The Duke of Burgundy review
Gett: The Trial of Viviane Amsalem review
Ex Machina review

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Ex Machina is as much a nerd’s cautionary tale as it is a nerd’s wet dream. It’s about two tech experts (nerds) who conduct an experiment on the world’s first true sentient AI, a mesmerizing, beautiful thing made up of plastic and metal and sinewy wires in the shape of an attractive young woman. Her name is Ava. She walks and talks and flirts and makes small talk just like us, only her skin is synthetic and we can see her insides. (See? Nerd’s wet dream. I kid. Sorta.) But how smart is she? Her human captors try to test her limits as a sentient being, but what they discover is something not even men as ingenious as them could have prepared for.

Sounds pretty intense, right? Well, it is, but that’s not to say novelist-turned screenwriter Alex Garland‘s directorial debut is a piece of tech-panic horror. Rather, it’s a crafty piece of thinking-man’s sci-fi, a ponderous, level-headed exploration of the implications we’d face as a species should we birth true AI. There are more than a few fascinating ideas and themes floating around in the film, enough to make it one of the most thoughtful and idiosyncratic films about robots, well, ever. Still, the movie’s first priority is entertainment, and on that front it doesn’t disappoint.

The story’s mastermind is Nathan (Oscar Isaac), the muscly, intellectually imposing CEO of a Google-like search engine tech company. He’s Ava’s creator, and he’s found her a playmate in Caleb (Domhnall Gleeson), a lanky, timid programmer who’s won a company-wide lottery that’s gifted him the extraordinary opportunity to spend a week at Nathan’s secluded, ridiculously expensive home, nestled into a mountainside at some undisclosed location not meant for common folk. Upon arrival, Nathan springs the surprise of a lifetime on Caleb, informing him that what he’s really there to do is interact with Ava, performing a kind of post-Turing Test in which he’s to determine whether she can pass as authentically sentient, despite Caleb knowing with complete certainty she’s man-made. If the Turing’s imitation game is blind, Nathan’s removed Caleb’s blindfold.

There’s another, reverse Turing Test of sorts going on as well, outside the confines of what we see on-screen. Ava’s played by a person, Swedish-born ballerina Alicia Vikander, but she, with the help of Garland and his visual effects team, must convince us, the audience, through various forms of movie magic, that what we’re seeing on-screen is not flesh and bone, but a humanoid mass of electronics. The illusion is key, as it’s the foundation the rest of the movie builds upon. Thankfully, it’s as impenetrable a visual trick as I’ve seen in years; I was in a constant state of amazement at how believable Vikander looks as a robot with a see-through midriff and limbs. I was stumped, and it was awesome.

While Ava is partly a grand feat in digital effects and conceptualization, what truly makes her convincing is Vikander, whose body vocabulary represents a sterilization and streamlining of the human body in motion, the aches and pains, tics and stutters sanded away. It’s a bizarre thing to watch Vikander glide around the room, her mechanical joints purring softly, as you find yourself forgetting she’s, in reality, draped in digital confections. For her controlled, inspired performance, Vikander deserves all the praise we can muster.

Let’s not forget the boys, though; they get work done, too. A large chunk of the film is driven by the layered, between-the-lines game of wits and intimidation played by Nathan and Caleb. Ostensibly, Nathan seems to just want to be Caleb’s “bro dude man” rather than his boss’ boss’ boss. But there’s a bit of predatory menace lurking underneath Nathan’s “tech-bro” image that’s represented in his burly physique and un-blinking glare. (When Caleb first meets him, he’s walloping the shit out of a punching bag. Coincidence? I think not.) As Caleb clocks in more and more sessions with Ava (who’s kept behind a wall of thick glass, but is irresistibly charming nonetheless), he begins to see Nathan and Ava not as an inventor and his invention, but as a monster and his imprisoned damsel. The point is, Caleb begins to feel for this machine, to the point where he wouldn’t be above doing her some favors. Is he a pawn in Ava’s scheme…or Nathan’s?

Nathan is the best cinematic intellectual oppressor since Christoph Waltz’s Hans Landa. Isaac is as good as he’s been in anything, and his physical transformation is arguably on-par with Vikander’s. Gleeson’s great too as the shy, slouched Caleb; while Isaac and Vikander’s characters are fully-formed and stay on a steady path throughout the story, Gleeson’s given what’s easily the film’s most dramatic character arc. He’s the audience’s proxy, primarily, but he lends a complexity and pathos to Caleb that pays off in spades by film’s end. Though Ex Machina is a cerebral movie for sure, Vikander, Isaac, and Gleeson’s performances anchor the film and make it feel wonderfully chaotic and raw as opposed to clinical and sober.

Garland’s got balls to tackle so many controversial topics at once, and that he pulls it off so smoothly proves he’s got skill on top of his nerve. There are tons of ideas swimming around in the film, some of which could fuel a movie on their own. Ava, for example, isn’t only the embodiment of AI and its ramifications regarding humanity, but a walking question of gender identity (she’s made of synthetic parts; and yet, she’s a she). Nathan and Caleb’s intellectual sparring matches are an examination of male ego, there’s more than a whiff of Blue Beard and Pygmalion in the narrative, and on top of that Garland brings up the freaky reality that our search engines know more about us than our loved ones do. Needless to say, I’m still chewing on this stuff weeks later.

What’s really cool about Ex Machina is that, despite its high-brow inner-workings, it’s still an easily accessible, small-scale thriller that offers as many genre pleasures as it does philosophical head-scratchers. It’s stylish, sleek and intellectually stimulating, but most importantly, it’s a lot of goddamn fun.

Alex Garland, a novelist-turned-cinematographer, has written some of the most geeked-about movies of the past 15 years: Sunshine, The Beach, 28 Days Later, and even a terrific video game called Enslaved: Odyssey to the West (if you haven’t played it…play it). Now, with Ex Machina, Garland is making his directorial debut, and it’s an indie sci-fi doozy. The film follows Caleb (Domhnall Gleeson), a young coder at the world’s largest tech company who’s invited by his boss, Nathan (Oscar Isaac), to participate in the grandest experiment in human history, involving a robotic girl named Ava (Alicia Vikander), the world’s first sentient AI. Mysterious, smart, and full of surprises, Ex Machina is about as awesome a feature debut a director could have, and we had the privilege of speaking with Mr. Garland in a roundtable interview during his visit to San Francisco to promote the film.

Ex Machina is playing now in New York and Los Angeles, opens tomorrow in San Francisco, and expands wide next Friday, April 24th.

What’s sexy about the uncanny valley to you?
You inadvertently flatter me with that question. The uncanny valley in this movie is, for me, something that is exhibited within Ava specifically in her movements. The way Ava moves is not robotic; it’s like a too-perfect version of how humans move. And in the perfection of those movements it feels a bit “other”. It’s quite hard to say why. I just feels a bit off, a bit “other.” The reason I’m saying you’re inadvertently flattering me is that, that had nothing to do with me at all. It was something Alicia Vikander arrived with. She was a ballerina since age 11 and she’s got incredible control of her physicality. The uncanny valley was brought here by Alicia as a way to approach playing this robot, and as soon as she said it I thought, “This is absolutely brilliant.

I’m trying to have a conversation, partly, about where gender resides. Is it in a mind, or is it in a physical form? Is there such a thing as a male or female consciousness, or is that a meaningless distinction? Maybe the gender resides in the external, physical form, or maybe in neither. There’s a broader question about what you call this creature: Do you say “he”, “she”, or “it”? It would be quite easy to present an argument saying Ava has no gender. That said, calling her “he” just feels wrong, with the way she looks. To use the word “it” feels disrespectful. You end up with “she”, and you end up with the strange thing of, is she a ‘she’? And just to be clear, of the questions that are posed in the film, some of them don’t have answers. But that doesn’t mean posing the question is wrong.

When it comes to sexuality, there’s a different thing going on there. Essentially, it’s about the fetishization of girls in their early twenties. Now, that’s not about gender; it’s a completely separate issue. I know there appears to be a Blue Beard narrative and a savior narrative in the film, but basically what you have is both a seeming protagonist and an audience being tasked with something, which is, “Tell us what is going on inside the mind of this being. Is it thinking?” Then, obstacles are presented to both the protagonist and the audience, which effectively get in the way of the question, “What is Ava thinking?” In the end, the thing the characters fail to do is establish what she’s actually thinking, and that allows her to trick them.

I think people are a little anxious and fearful of artificial intelligence, but you actually think it’s a good thing, perhaps even an improvement on human beings.
I do, and I also think that a lot of the stuff that’s perceived to be anxiety about artificial intelligence has actually got fuck-all to do with AI. There are two separate things going on: You’ve got Stephen Hawking and Elon Musk saying artificial intelligence is potentially really dangerous, being possibly anti-AI. And I’m talking about strong AI, not video games and mobile phones. That’s potentially true and potentially reasonable, but you could say the same thing about nuclear power. It’s potentially dangerous, and that doesn’t necessarily stop us from using it. The question is [about] how it’s used. With humans, it tends to be the case that, when something’s possible, we then do it.

The question to ask is not, “Should we do it or shouldn’t we do it?”, because we’re going to do it no matter what if it’s possible. The question is, “How are we going to deal with it when it happens?” That aside, I think a lot of the anxiety doesn’t actually come from AI. There have been a lot of stories about AI in film lately, from Transcendence, to my film, to Age of Ultron. There are tons of them that suggest this zeitgeist in the air. Why is that? Has there been any real breakthrough in AI? Not really. I think it’s probably got nothing to do with AI. I think it’s to do with tech companies. It’s because of our laptops and our phones. We don’t really understand these things, but they know a lot about us. So what you get is a sense of anxiety, either consciously or unconsciously. I think these AI stories are a consequence of that anxiety rather than anything specifically to do with AI.

There are a lot of little things Oscar does with his face that convey a lot to the viewer without giving anything away. Was that a conscious decision on your part?
People say a director got a performance out of an actor. I didn’t get any performances out of any actors. This is something Oscar brought because he’s an incredibly gifted actor. What I think you seek from an actor is that they will elevate everything to do with their character and find things that you never even thought of, improvements and stuff like that. That’s true of the DP, the production designer, the brilliant composers…and true of Oscar.

Does that suggest that you give your actors free rein on-set, or do you like to have some sort of collaboration?
The way I see it, I perceive myself as being a writer, primarily. I write the script and present it as a blueprint to people. Then, I’m not looking to control anybody. It’s almost like what you’d ideally want anarchy to be: a group of people, quite autonomous but also collaborative, working together with a shared goal. That’s my approach to filmmaking, broadly. I don’t like auteur theory. I find it boring and misleading and inaccurate a lot of the time. It’s definitely not what I am. I’m part of a team, and I like that. Years ago I used to work on books. You sit in a room, and you write a book. That’s “auteur.” There is no real comparison to working on a film with a lot of other people. Actually, the thing I dig about film is that it’s collaborative. That’s the pleasure in it.

Can you tell me more about the relationship between Oscar and Domhnall’s characters?
There are two things going on there. One is, [Nathan] is deliberately winding this guy up, presenting himself as something from which this machine needs to be rescued. He’s presenting himself as a bullying, misogynistic, predatory, violent man so this kid can rescue the machine from him. Now, there’s a question: Is that a complete confection? Is that just an act he’s doing? Or is he amplifying something that’s within his own character? That’s one of the hovering questions going on in the story. There’s another thing he’s doing, the “dude, bro” stuff. For me, it’s slightly trying to represent the way some tech companies try to represent themselves. It’s kind of like going, “Hey dude, hey bro, we’re pals! We’re a bunch of hipsters listening to music! By the way, can you give me all of your money and all your information? Thanks, dude!” That kind of speak cracked me up a bit.

So Domhnall’s character is administering a Turing Test…
Sort of. It’s pedantic, but it’s sort of a post-Turing Test. It’s a blind test. A Turing Test is really a test to see if you can pass the Turing Test. You can pass the Turing Test and not be sentient. What he’s saying is, this machine would pass the traditional form of the Turing Test; I want to know if I can show you it’s a machine, and you still think it’s sentient. It’s a step up.

There’s a kind of Turing Test going on between your team and the audience. You’re trying to convince the audience, through Alicia’s movements and visual effects, that she’s a synthetic thing walking around on-screen.
Initially. And hopefully, people are forgetting that.

Most of the legwork for the illusion is done by Alicia, but the visual effects are pretty incredibly. They had me stumped.
The effects are really brilliant, and they were run by this guy called Andrew Whitehurst, with a big team under him. I’ve met some really smart people in my life, [but with Andrew,] I did sometimes think, “You are literally the smartest guy I’ve ever met.” He has enormous creative instincts. I remember him saying early on, “I want to hang these plastic strips inside her torso that will diffuse light and make these structures inside her look slightly more mysterious.” It was a really subtle, nuanced idea that was very typical of him. Very late in post-production, there was a problem to do with the way the camera rendered pixels. It was going to cause us a huge problem, and he said, “I’ll fix this.” He wrote a bit of code that basically reworked the pixels and fixed it, and it fucking blows my mind that he’s able to do these things.

Can you comment on any movement for a Dredd sequel?
Not really. Not because it’s one of those coy things, like I’m demurely going to say “no.” It’s because there isn’t, as far as I can tell, going to be a Dredd sequel. The basic mechanics of film financing say, “If you make a film that loses a ton of money, you’re not going to get a sequel,” and that’s basically what happened. I understand and appreciate the support the film has had, the campaigns that have existed for it, and it’s extremely, genuinely gratifying. I love it in all respects except one, which is when I hear about people buying copies of the DVD in order to boost sales and change the figures. What I want to say to them is this: Don’t do that. Keep your money. The people who are making the decision are much colder and harder than that. The graphs they’re looking at aren’t going to be sufficiently dented by it. The support for the film is truly appreciated, but if there is going to be a sequel, it’s not going to be from me and the team who worked on the previous film. It’s going to be another bunch of people, and good luck to them. I hope it happens, and I hope they do a better job than we did.

“Man fears the darkness, and so he scrapes away at the edges of it with fire.”

Bernard faces his demons on this episode of the Way Too Indiecast as he and Ananda discuss the worldwide phenomenon they’ve somehow managed to stay far, far away from until now: anime. To guide them on their journey through the wonderful world of vampire hunters, giant mechs, and godlike schoolgirls is special guest Ryan Clements, a prominent figure in the video games industry and passionate anime enthusiast. Will Mr. Clements be able to persuade Ananda and Bernard to dive deep into the worlds of Cowboy Bebop and Neon Genesis Evangelion?

Also on this nerd-tastic edition of the show, Ananda and Bernard discuss Alex Garland’s stunning sci-fi indie, Ex Machina, which stars Domhnall Gleeson, Oscar Isaac and Alicia Vikander. In the film Gleeson and Isaac play a couple of tech geniuses (nerds) who perform experiments on the world’s first true A.I., an adorable robot girl named Ava (Vikander). Could it be the best film of the year so far? Plus, as always, we’ve got some fresh indie picks for you right at the top of the show. So what are you waiting for? Click play and let the waves of nerdy pleasure wash over you.

Topics

• Indie Picks of the Week (5:47)
• Exploring Anime (13:50)
• Anime For Beginners (34:00)
• Ex Machina (49:32)

WTI Articles Referenced in the Podcast

Lambert and Stamp review

Subscribe to the Way Too Indiecast

• Subscribe to the podcast on iTunes
• Subscribe to the podcast on Stitcher
• and don’t forget to leave us a rating and quick review!

CJ and Bernard take the reigns on this super-indie-fied edition of the Way Too Indiecast. It’s straightforward, unadulterated independent film bliss this week, as the boys recommend some excellent indies you should keep your eye on in the near future, as well as share some exciting films you should look forward to further down the line in 2015. Also, Bernard attempts to redeem himself after his pitiful, embarrassing showing in last episode’s “Name 5” game. Sit back and let the juicy indie goodness seep into your ear holes! (I probably could have worded that better…)

Topics

• Name 5 Game (2:15)
• Recent Indie Films We Liked (5:55)
• Upcoming Indie Films (26:50)

WTI Articles Referenced in the Podcast

Wild Canaries Review

Buzzard Review

Merchants of Doubt Interview

Faults Review

Mary Elizabeth Winstead Video Interview

What We Do In The Shadows Review

Gett: The Trail of Viviane Amsalem Review

It Follows Review

David Zellner Video Interview

Backcountry Review

Subscribe to the Way Too Indiecast

• Subscribe to the podcast on iTunes
• Subscribe to the podcast on Stitcher
• and don’t forget to leave us a rating and quick review!

So 2014 gave us over a 1,000 movies and 2015 may have just as many if not more. That’s a lot of options. Dwindling box office numbers last year lead us to believe you, oh moviegoer, are of a discerning nature. So for those of you looking for a little direction, here are 22 films hot on our radar here at Way Too Indie.

The lineup for 2015 looks too good to be true so far, and who knows what other surprises could be coming down the line! (Seriously…who saw Selma coming last year?) On the way this year are new potential masterpieces from some of the most beloved auteurs of our generation (Tarantino, Herzog, del Toro, Malick), the latest entries in the flourishing careers of today’s indie kings (Baumbach, Wheatley, Nichols, Saulnier), two planet-sized studio blockbusters that’ll have geeks soiling their pants (you know what they are…), and the returns of two powerhouses trying to reclaim their former glory (the Wachowski siblings, Pixar).

Oh yeah…and MAD F*CKING MAX.

We can’t vouch for any of these films yet, but they’re buzzing in our ears and on our lists of must-sees. What movies are you looking forward to? Let us know in the comments and stay tuned to Way Too Indie throughout the year to see whether these films live up to our expectations or make us howl in disappointment (*cough* Mockingjay *cough* Big Eyes *cough*).

Most Anticipated 2015 Films

Far From The Madding Crowd

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Based on Thomas Hardy’s book, Thomas Vinterberg’s (The Hunt) latest film doesn’t exactly look like something we’d expect from him, but because of the novel’s fame as a great love story it certainly seems as if he’s trying his hand at a grander scope. From the film’s first trailer it’s quite lovely to look at, and if there are more like myself, suckers for period pieces focused on a forward-thinking woman taking love into her own hands, then the film’s already got a built-in crowd. Carey Mulligan stars as Bathsheba Everdene, a woman suited by three very different men who offer her three very different futures. Everyone loves a good love triangle, er quadrangle, and it’s been a while since we’ve had a good film version of the novel. The film releases in May, just in time for spring fever, wink wink. [Ananda]

High-Rise

Director Ben Wheatley proved that he is more than adept at making audiences distinctly, yet subtly, uncomfortable with his 2012 film Sightseers, and this is a talent entirely necessary when tackling a novel by J. G. Ballard. Though the author’s most famous work might be Crash, High-Rise is undoubtedly a masterpiece that is eerily relevant even now, 40-years after its publication. As a fan of Ballard’s writing, Wheatley has stated that his plan is to stay true to the author, who is well-known for his dystopian visions of modern life. The plot of the novel revolves around the residents of a luxury high-rise building, and the way the highly developed technology available to them not only isolates them, but does strange things to their psychological states. With a strong cast including Tom Hiddleston, Jeremy Irons, Sienna Miller, Luke Evans and Elisabeth Moss, the film is bound to not only be interesting, but perhaps also one of the most unsettling things we shall see this year. Set in England, High-Rise doesn’t have a release date yet but is expected to be seen in British theaters first. [Pavi]

The Walk

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James Marsh’s Man on Wire is my favorite documentary of all time, and its subject’s story is one of the most amazing I’ve ever heard. The film chronicles the events leading up to French tightrope walker Philippe Petit’s awe-inspiring, death-defying high wire act of a lifetime, when he danced in the sky on a wire stretched between the twin towers in 1974. Petit is the most mesmerizing documentary subject I’ve ever seen, and the film plays out like a heist movie as he and his team describe their intricate plans to break into the heavily guarded buildings and set up the daring spectacle (which was, of course, totally illegal). Robert Zemeckis’ upcoming dramatization of Petit’s story, The Walk, is exciting to me for obvious reasons, but what I’m really hoping for is a return to form for the director, who used to make excellent films but has fallen off in the past decade. Joseph Gordon-Levitt stars as Petit, an actor in whom I have all the confidence in the world. Hopefully Zemeckis can capture the thrill of the artistic caper as well as Marsh did. [Bernard]

The Hateful Eight

I love Quentin Tarantino’s love of film. I love how every second of his films are soaked in that love and I love how palpable it is to his fans. Whenever he announces a new film I get excited, and even though I think Django Unchained is the weakest film he’s made as of yet, and I’m not over the moon that he’s doing another Western, that’s not stopping me from being excited for The Hateful Eight. What I’m most anticipating about ensemble piece is the cast Tarantino has lined up. Channing Tatum, Samuel L. Jackson, Kurt Russell, Tim Roth, Jennifer Jason Leigh, Michael Madsen, and Damien Bichir. Some of the cast have worked with Tarantino before, but how long has it been since Tim Roth or Michael Madsen graced a Tarantino flick? Way too long. Not much is known about the film plot-wise, but when has Tarantino really disappointed in that department? We all know what’s coming our way; lots of cussing, lots of violence, and lots of blood. [Blake]

Mistress America

Noah Baumbach’s already got one comedy coming out this year in While We’re Young (which I caught at Toronto and then again as the Surprise Screening during the New York Film Festival), and while that film’s comedic look into age and identity merits its own selection on a Most Anticipated of 2015 list, we’re intrigued by the prospect of Baumbach’s newer project Mistress America. Premiering at this year’s Sundance Film Festival, the movie features Baumbach re-teaming with his Frances Ha collaborator (and girlfriend) Greta Gerwig, who once again co-writes and stars. The story follows Tracy (Lola Kirke), a lonely college freshman in New York whose university experience is failing to match her expectations. When Lola is taken in by her soon-to-be stepsister Brooke (Gerwig), described on Sundance’s website as, “a resident of Times Square and adventurous gal about town,” Lola gets swept up in Brooke’s adventures around New York City. If Mistress America ultimately resembles a companion piece to Frances Ha we won’t mind (Frances Ha was WTI’s 2nd favorite flick of 2013), but what’s exciting is to see Baumbach return to a street-level look at NYC, where he and Gerwig previously created an enticing, exhilarating perspective on being young amid the overwhelming offerings of big city life. [Zachary]

Ex Machina

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Alex Garland’s career achievements so far have been penning novels and screenplays such as The Beach, 28 Days Later, Sunshine, and Dredd, but now he’s stepping behind the camera with his directorial début, Ex Machina. Set in the near future when artificial intelligence is beginning to make major breakthroughs, a young programmer named Caleb (Domhnall Gleeson) is assigned to evaluate the humanistic qualities of a female A.I. robot. Caleb ends up falling in love with the beautiful robot girl, and she urges him to second guess his boss (played by Oscar Isaac) and question the motives behind the experiment. By the sounds of it, the film would make an interesting double feature with Spike Jonze’s metaphysical romance film Her. Given Garland’s previous writing efforts, there’s a good chance Ex Machina will be an imaginative and trippy thrill ride—exactly the type of sci-fi we like to watch. Those lucky enough to attend this year’s SXSW Film Festival in March will be able to catch the North American premiere. [Dustin]

Sisters

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I think Tina Fey and Amy Poehler have solidly established themselves as the queens of the comedy realm. People want to see (or read) whatever they do. Though their first attempt as a duo in a feature film, Baby Mama, didn’t make a big splash at the box office, with 7 years and (almost) 3 Golden Globes under their belts, they have been perfecting their chemistry since then. What’s really exciting is that adding to their biting wit and snarky banter, they will be directed by Jason Moore, whose job on Pitch Perfect took everyone by surprise and the comedic world by storm. SNL veteran Paula Pell will be handling the script, so we can rest assured that this super basic plot will be taken advantage of in every which way to give us a hilarious trip. I’m really looking forward to seeing the likes of Maya Rudolph, Ike Barinholtz, Kate McKinnon, and Bobby Moynihan make this perhaps the comedy of the year. Though SNL movies in the past have been mainly hit or miss, I’m banking on this one being a home run. [Scarlet]

Jupiter Ascending

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Like many indie cinephiles, I am an unabashed fan of the Wachowskis. After the groundbreaking success of The Matrix and their downfall throughout its sequels, the directing duo have seemed to reset themselves with a series of films that felt more pure while maintaining their incredible bold vision. There are many people that wouldn’t get behind Speed Racer and Cloud Atlas, but these are films I absolutely love for their visual and narrative uniqueness. Jupiter Ascending seems like it could be a slight return to a more mainstream genre exercise, but the Wachowskis are simply too interesting for me to ignore. The film’s delay from late 2014 to February should be a worrisome sign, but it almost feels like a badge of honor—perhaps it isn’t what the studio was looking for and won’t be what they expect as a sci-fi showcase for a mass audience. Even Channing Tatum’s (an actor I very much enjoy) weird blonde goatee isn’t enough to turn me off. Could it be a total garbage fire? Certainly. Then again, as the Wachowski’s have showed more than once, one man’s garbage fire could be another man’s masterpiece. [Aaron]

Queen of the Desert

Oh, the plagues of film production. Werner Herzog’s next feature-length fiction film was all but set and ready to go for last year’s fall festival circuit, until the official announcement came through that the film had met with technical difficulties in post. My heart, along with many others, sunk. Time heals, however, and now that we’re in 2015 I’m hopeful once again. It’s Werner Herzog, someone whom I have a bottomless admiration for (check out WTI’s 20 Herzog Film Retrospective we did last year to mark the man’s birthday). This time around, he’s tackling the biopic genre again (something he’s mastered in the past), and what’s most curious is that it’s a biopic of a woman (fresh!). It recounts the life of British archaeologist and explorer Gertrude Bell, who became instrumental to British imperial policy-making at the turn of the century. Joining Nicole Kidman in the title role (which Herzog reportedly says she nails), are James Franco, Robert Pattinson (both men having proven great with the right material), and Damian Lewis of Homeland fame. But, in truth, all you had to tell me is that it’s a Herzog film set in a desert and I’d be sold. Which I am. No official release yet, but since it’s reportedly overcame its post-production hurdles, expect Queen of the Desert to make an appearance at Cannes. [Nik]

Evolution

Last summer it was announced that French director Lucile Hadžihalilović was starting production on her newest film, and ever since then I’ve been anxiously looking for any news related to Evolution. For those unfamiliar with Hadžihalilović, I insist you go check out her 2004 film Innocence. It’s a little-known film about an all-girl boarding school that feels like an ominous fairy tale come to life. It’s a gorgeous, moody, atmospheric and undervalued work, one that would have established Hadžihalilović as one to watch if she made anything since then. Little is known about Evolution, except that it deals with young boys being the subjects of genetic experiments meant to reverse the stages of evolution. Hadžihalilović has cited The Island of Dr. Moreau as an influence on this film, so it’ll be interesting to see how she handles something more in the realm of horror and sci-fi. Will Evolution be worth the 11 year wait? Based on the strength of Innocence, I won’t be surprised if the answer to that question turns out to be a resounding yes. [C.J.]

Inside Out

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At this point, there is little anyone could say to deter me from being genuinely excited about every little piece of news we discover about the latest Pixar project. Inside Out, the animation that is quickly drawing more and more interest for its characterisation of human emotions—all inside the mind of a young girl—promises not only to uplift our spirits in the way most of Pixar’s original creations do, but also to be one of the most challenging adventures they have taken on to date. With little but the human mind as a backdrop, the film will no doubt be one of Pete Docter and Ronaldo Del Carmen’s most incisive deconstructions of human emotion and behaviour. Not to mention: is there anything more joyful than Amy Poehler being the voice of Joy? What could be more appropriate than Bill Hader voicing Fear? And Mindy Kaling is bound to bring unprecedented levels of sass to the role of Disgust. Announcing Inside Out, Pixar promised an exploration inside the world of the human mind, and with over a year having passed since their last film, it’s safe to say we can expect them to deliver on their promises. [Pavi]

Crimson Peak

My interest in the latest film from Guillermo del Toro was piqued (no pun intended) while at Comic-Con last July. Those in attendance were invited to a sneak preview of del Toro’s highly atmospheric film, and from what I could tell it appears to harbor all the creepiness of Pan’s Labyrinth combined with the ambiance of The Devil’s Backbone (my personal favorite of del Toro’s films). Emphasizing the horror elements was the blood-streaked logo of Legendary Pictures opening the teaser. Tom Hiddelston (master of dark macabre moods) plays the owner of an elaborate and gothic old house to which he has just brought his young bride Edith (Mia Wasikowska). Del Toro says he wanted a film led by a woman who gets the man and then has to deal with life beyond that, though of course it’s not likely most newlyweds’ experience to find themselves in a house alive with secrets and ill intentions. Jessica Chastain and Charlie Hunnam round out the cast for what looks to be a truly frightening and beautifully crafted gothic horror. The film is set for an October release (duh). [Ananda]

Midnight Special

Writer/director Jeff Nichols garnered a significant amount of attention for attaching himself to the McConaissance, just prior to Dallas Buyers Club‘s rise to Oscars prominence, with the filmmaker’s 3rd feature Mud. That intriguing drama about two young Southern boys who cross paths with a fugitive and help him reunite with a mysterious ex-girlfriend illustrated Nichols’ ability to craft personable characters shrouded in secrecy. For my money, it’s his previous film Take Shelter that’s his best, an eerie, low-key thriller about a possibly psychotic man haunted by a series of apocalyptic visions debating how to best protect his family. His upcoming project, a supernatural sci-fi thriller titled Midnight Special, seems to take aim somewhere between those last two movies. The story concerns a man (played by Jeff Nichols’ muse Michael Shannon) and his son Alton (St. Vincent newcomer Jaeden Lieberher) on the run after the father discovers his son’s unique abilities. Also starring Joel Edgerton and Kirsten Dunst in the group trying to keep Alton safe, as well as Sam Shepard and Adam Driver among the villains hunting the child down, Jeff Nichols has described the project as an ’80s style genre flick in the vein of John Carpenter’s Starman. If that brew of ideas sounds enticing, look out for Midnight Special in theaters November 25th of this year. [Zachary]

Avengers: Age of Ultron

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I know, I know. Avengers: Age of Ultron is about as far away from independent filmmaking as it can get, but there are reasons to be excited for it. It gets people to the movies, which is always a good thing. It gives its stars freedom and clout to make smaller films and get smaller films made. It’s also the best at what it is—there’s always room for popcorn as long as it’s good popcorn, and Marvel makes the best popcorn. Most importantly, The Avengers franchise is an unprecedented achievement in storytelling and moviemaking. Until the MCU, film series have mostly been vertical—film one begets film two, then three, and so on. Quentin Tarantino has dabbled in the horizontal, making tangential references among his films, but nothing has been as ambitious in scope as the MCU. Characters routinely crossover from film to film. The events of one film impact others on both axes and everyone assembles for the climax. This ambitious design takes great creativity and vision, but to have the skill to turn that vision into ten (and counting) successful films over the last seven years is a creative feat that gets lost in both the fanfare and the hate. [Michael]

The Lobster

If you’ve seen Dogtooth (if you haven’t, make it your top priority), it will be easy to understand why we’re anxiously awaiting Yorgos Lanthimos’ latest project. Lanthimos, who helped birth the “Greek Weird Wave” movement, will be making his English language début with The Lobster, and he’s lined up a killer cast: Rachel Weisz, John C. Reilly, Ben Whishaw, Colin Farrell, Olivia Colman and Léa Seydoux, just to name a few. The only other things we’ve seen from this film are the amazing photo shown above and a completely bonkers plot-description. And what is that crazy plot-description? Well, the film takes place in a dystopian future where single people are captured, locked in a hotel and given two options: find a partner within 45 days, or turn into an animal and get released in the woods. How can you read that and not want this movie in front of your eyeballs right this second? [C.J.]

Green Room

Jeremy Saulnier’s last film, Blue Ruin, was an out-of-the-blue masterpiece—its success even surprised Sundance, who initially passed on the film. Whenever a début is released that hits such a confident and stylish cord, there will always be pressure on the follow-up. Green Room seems to double-down on the dark and moody tone set by its predecessor. The basic plot has two separately, yet equally awesome, parts: a young punk band who somehow get wrapped up in a horrible act of violence at one of their gigs and a group of neo-Nazis who have some sort of relationship to said band. These groups coming together certainly has a great potential for dark humor and bone-chilling violence, which Saulnier has already wonderfully showcased the ability to meld and morph. But perhaps the most intriguing part of Green Room is the casting of Patrick Stewart, the grandfatherly actor and surprisingly wacky twitter persona, as the head of the neo-Nazi group. Green Room currently doesn’t have a theatrical release date set, but expect it to pop up at Cannes and top film festivals throughout 2015. [Aaron]

Mad Max: Fury Road

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I’m going to be that guy for a second: sorry, but I will never say that Die Hard is the greatest action movie of all time. I firmly believe that the honor belongs solely to The Road Warrior, George Miller’s rough and tough Australian film from the early ’80s. So when I heard that the series was finally getting a fourth film, I naturally started fist pumping until my arms went numb. The film has been in production for seemingly a decade now, long enough for me to pull the ol’, “I’ll believe it’s being made when I see a trailer.” Well, that trailer premiered at Comic-Con last summer and has had fanboys (including yours truly) singing from the rafters ever since. Miller returns to helm the film which is now being led by everybody’s favorite actor of late Tom Hardy, who seems like an excellent choice to play Max, the ever tortured soul of Australia’s barren and wasted Outback. What’s immediately admirable is that Miller has decided to stick with mostly practical effects (crashing cars for real with stuntmen) over digital effects. Because who doesn’t love cars smashing into each other at a 100mph for 2 hours? [Blake]

Joy

David O. Russell’s first collaboration with Jennifer Lawrence and Bradley Cooper was 2012’s Silver Linings Playbook. That film went on to great success, earning back six times its budget and collecting Oscar nominations for Russell for writing and directing, Lawrence and Cooper for acting (Lawrence won), and for Best Picture, among others. That turned out to be more than luck. One year later the dynamic trio joined forces for American Hustle to similar results. The film made back four times its budget and earned them another round of Oscar noms (as well as Best Picture, among others). After taking 2014 off (collaboratively, at least), Russell, Lawrence, and Cooper are at it again in Joy. The film is the real-life rags-to-riches tale of Joy Mangano, inventor of the Miracle Mop. Lawrence is playing the title role. Russell, Lawrence, and Cooper are on a hot streak. I can’t wait to see it roll on. [Michael]

Tomorrowland

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Brad Bird is one of my favorite directors currently working (I’m forever grateful for The Incredibles and The Iron Giant), and the fact that he’s helming Disney’s Tomorrowland instills a lot of confidence where, in a lesser director’s hands, I would probably write it off as a throwaway blockbuster with an arbitrary, shoehorned Disney trademark slapped on to inflate profits. I believe in Bird’s skills as a live-action filmmaker (I thought Mission: Impossible – Ghost Protocol was very good), and from what I saw in the inventive teaser trailer released last year (its highlight is one of the most fun, startling visual effects I’ve seen in a while), he seems to have a clear, fresh vision of the world of tomorrow. According to Disney, the film follows “a bright, optimistic teen bursting with scientific curiosity and a former boy-genius inventor jaded by disillusionment as they embark on a danger-filled mission to unearth the secrets of an enigmatic place somewhere in time and space that exists in their collective memory as ‘Tomorrowland.’” With George Clooney, newcomer Britt Robertson, Judy Greer, Hugh Laurie, and Kathryn Hahn, the film boasts a strong cast to boot. [Bernard]

Star Wars: The Force Awakens

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Adventure. Excitement. A Jedi craves not these things. I, on the other hand, really want this to be full of both of those. I can’t help but struggle, however, with a deep-seated fear…and we all know where that leads. Though our old heroes will be returning in the flesh—the real Han and Luke and Leia—will they bring back that original magic (Disney magic notwithstanding)? Or will they desecrate everything we hold dear? So, when I say this movie is anticipated, it’s an anxious anticipation. I want to love it. I dread the possibility that I will hate it. Some might find my lack of faith disturbing, but I tend to be a Star Wars traditionalist and still have a bitter taste in my mouth from the “special editions” of Episodes 4, 5, and 6 and consider Episodes 1, 2, and 3 to be nothing short of farcical. Though if you enjoyed those films, you’re pretty much guaranteed to enjoy The Force Awakens, so I won’t spoil it. For those in my boat? Well, it’s difficult to see. Always in motion is the future. Nevertheless, we have to know. This movie must be seen. [Scarlet]

Knight of Cups

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For our money, Terrence Malick is one of the greatest auteurs working today, so it’s not a surprise to find his latest experiment (because that’s what his films are) on our most anticipated list. Knight of Cups has run laps in the rumor mill for a couple of years now, so when the trailer finally arrived last month we could breathe a sigh of relief. And judging solely from the trailer, it appears we’re in for another ambiguous story filled with gorgeous cinematography from Emmanuel Lubezki somewhat like The Tree of Life—and if it’s half as good we’ll be thrilled! Knight of Cups sounds as cryptic as it looks, loosely structured as a modern-day fable with Christian Bale as a “young prince” who gets caught up in the celebrity lifestyle of Hollywood, possibly pissing off his father (aka the king) in the process. The film has a huge cast of stars: Cate Blanchett, Imogen Poots, Natalie Portman, Teresa Palmer, Ben Kingsley, and Nick Offerman. Though we know little about the film (typical Malick), all that really matters is that Malick is behind the camera, which is enough for us to eagerly wait in line for tickets. [Dustin]

Macbeth

This is going to be a great year. Part of the reason I believe that is because I’ve had such a hard time trying to decide which two films to write about (after my top choices Knight of Cups and The Lobster were already shot-gunned). It wasn’t long before I remembered Macbeth and got all jittery with excitement. Where to begin? As a student of literature, watching any Shakespeare adaptation (especially when the original text is retained) is like eating homemade apple pie; there’s an intimacy there that’s unrivaled by anything else. And his tragedy about a soldier too ambitious for his own good, succumbing to his own twisted sense of righteousness (twisted, mostly, by his cunning wife), is one of my absolute favorites. I’ve been aching to see what director Justin Kurzel does next ever since he blew me away with his haunting feature début Snowtown, and once I heard that it was Macbeth, with Michael Fassbender and Marion Cotillard in the roles of Macbeth and Lady Macbeth, I was hooked in an instant. Working again with his brother Jed Kurzel (who composed the hell out of Snowtown) and True Detective’s cinematographer Adam Arkapaw is like a scoop of delicious vanilla ice-cream next to the pie I would’ve gobbled up regardless. No official release date yet, but it’s been in post for a while so no reason not to think it won’t be ready in time for Cannes. [Nik]

A trailer for the directorial film debut from Alex Garland (writer of Sunshine, 28 Days Later, and the upcoming Halo film) is now up. Looks like Terminator: Genisys won’t be the only robot movie in theaters next year. Coming out next April, Ex Machina stars Domhnall Gleeson as Caleb, an internet programmer who wins a competition to spend a week at an out of the way mountain compound to meet with Oscar Isaac‘s robot scientist Nathan Bateman. Nathan has chosen Caleb to test his latest AI specimen, Ava, played by Alicia Vikander (with some Her-like smooth talking).

From there it looks like this ultra intelligent, and emotionally cognitive, robot messes with the minds of the men as Caleb tests (falls in love with) her. The movie looks to be filled with some great technicolored tension.

Check out the trailer below