Just as American Crime Story: The People v. O.J. Simpson once again sparks America’s love for true crime stories, streaming service SundanceNow Doc Club offers a number of documentaries in their “True Crime Collection.” Highlighted by the seminal ten-part series The Staircase, the collection includes many other classics of the subgenre, along with a few less seen gems. Other films include Errol Morris’ The Thin Blue Line, Werner Herzog’s Into the Abyss, Brother’s Keeper, Murder on a Sunday Morning, Aileen Wuornos double-feature Aileen: Life and Death of a Serial Killer and Aileen: The Selling of a Serial Killer, and more. To see all of these great true crime docs and dozens of other fantastic documentaries, you can join the SundanceNow Doc Club for $4.99 per month on an annual subscription. For all the other TV and films new to streaming this week, check out the selections below:

Netflix

A Picture of You (J.P. Chan, 2013)

New York-based filmmaker J.P. Chan takes family drama to unexpected places with A Picture of You, a mischievous, sleek-looking movie about estranged siblings (Andrew Pang and Jo Mei) who return to their childhood home to sort through their recently-deceased mother’s belongings. They’ve got heaps of emotional baggage to unpack between them, but there’s something their mother’s hidden away that will change their memory of her forever. Warm nostalgia is broken to pieces in a delightful, funny, and outrageously surprising way in this terrific debut, which you’d be cheating yourself to miss. [Bernard]

Other titles new to Netflix this week:
Better Call Saul (Series, Season 1)
Charlie’s Country (Rolf de Heer, 2013)
Experimenter (Michael Almereyda, 2015)
A Faster Horse (David Gelb, 2015)
The Fury (Brian De Palma, 1978)
I Love You Phillip Morris (Glenn Ficarra & John Requa, 2009)
Intolerable Cruelty (Joel & Ethan Coen, 2003)
Love (Gaspar Noe, 2015)
Stranger by the Lake (Alain Guiraudie, 2013)
Tokyo Tribe (Shion Sono, 2014)

Fandor

Arabian Nights Trilogy (Miguel Gomes, 2015)

Among the highest regarded films of 2015, Portuguese auteur Miguel Gomes’ Arabian Nights trilogy is now available for wide consumption in the U.S. on Fandor. The three films use One Thousand and One Nights as an inspiration while telling a collection of stories concerning modern day Portugal. The second film in the series, The Desolate One, has become the highlight as it garnered the official selection for its country for Academy Award consideration, though it was not nominated. With all three films available now, there’s no excuse for film lovers to fill out their 2015 blind spots. Fandor’s other films available this week include the Criterion Picks topic “Mid-Century Cool” and a new Spotlight series called “Love Gone Wrong,” just in time for Valentine’s Day.

Other titles new to Fandor this week:
Bay of Angels (Jacques Demy, 1963)
Elevator to the Gallows (Louis Malle, 1957)
Pale Flower (Masahiro Shinoda, 1964)
Picture of Light (Peter Mettler, 1994)
Prodigal Sons (Kimberly Reed, 2009)

MUBI

The Cook, The Thief, His Wife & Her Lover (Peter Greenaway, 1989)

MUBI is kicking off a retrospective of arthouse filmmaker Peter Greenaway with his most iconic and controversial film, The Cook, The Thief, His Wife & Her Lover. Long difficult to see, in part due to its dreaded NC-17 rating, the film has built up cult status among film fans for its strange mix of the crude and the beautiful. It’s lavish sets and use of color provide a striking look to the film, while the narrative frankly explores themes of sex and violence in sometimes shocking ways. The film sports a terrific cast of veteran British actors including Michael Gambon, Helen Mirren, Tim Roth and Alan Howard. Greenaway has gone on to a fine career, including his latest release Eisenstein in Guanajuato (which hopefully will be a part of MUBI’s retrospective), but The Cook, The Thief, His Wife & Her Lover is unquestionably the filmmaker’s masterpiece. It is available on MUBI until March 5.

Other titles new to MUBI this week:
Adventureland (Greg Mottola, 2009)
America (Valérie Massadian, 2013)
Hoop Dreams (Steve James, 1994)
French Blood (Diastème, 2015)
Nana (Valérie Massadian, 2011)

iTunes & Video On-Demand

Ash vs. Evil Dead (Series, Season 1)

One of the most beloved and bizarre horror franchises, The Evil Dead spawned a new chapter in a new medium this year with Ash vs. Evil Dead. The ten episode first season recently wrapped up on premium cable network Starz to rapturous approval from both critics and hardcore fans of the film series. The show sets cult hero icon Ashley J. Williams (Bruce Campbell) in modern-day Michigan with the Deadite threat long behind him. That is until the mystical evil is once again released. The series nails the bloody fun of the films, with a great lead performance and possibly more gore than any other series in the history of television. Picked up for a second season, if you don’t have Starz or just missed the show, you can now catch up on iTunes and other VOD services.

Other titles new to VOD this week:
Bridge of Spies (Steven Spielberg, 2015)
Hellions (Bruce McDonald, 2015)
Man Up (Ben Palmer, 2015)
Spotlight (Tom McCarthy, 2015)
Steve Jobs (Danny Boyle, 2015)

Based on the life of Stanley Milgram, Experimenter pokes and prods at the mind as the late social psychologist did in his controversial obedience experiments conducted at Yale in the 1960s. The reality-bending film stars the charismatic Peter Sarsgaard as Milgram, who intermittently addresses the camera directly, commenting on his unlikely life story as we watch it unfold. Milgram’s obedience experiments—which involved a subject administering electric shocks to a second volunteer—changed the landscape of social psychology, though Milgram’s career would suffer due to many of his colleagues disagreeing with the ethicality of the experiment. Odd, mesmerizing and wildly inventive, Experimenter is one of the most unique things you’ll see this fall.

We spoke to director Michael Almereyda about the film, which also stars Jim Gaffigan, Taryn Manning, John Leguizamo, Anton Yelchin, and Winona Ryder (as Milgram’s wife, Sasha).

Experimenter is out in theaters and VOD now.

How were you introduced to Milgram’s work?
It’s called Obedience to Authority: An Experimental View. It has transcripts from the experiments and a detailed account of its genesis and execution. It was very compelling to me and I thought it would make a good movie. The more I read and researched, I began to recognize there was a bigger scope than those experiments. His mind was reaching past those experiments, but they kept creeping up on him from the shadows.

How long ago was this?
2008. I’d heard of [the experiment] before, but not with attention or definition. I didn’t know how clever, rich and exhaustive it was. I didn’t know he worked on it for two years. I also didn’t realize the controversy and repercussions.

I like the way the movie slips between different planes of reality.
I’m grateful that you say that, but in some ways it’s a pretty straightforward movie. It’s pretty chronological, there’s one flashback, and otherwise it’s really broken into three sections. It’s more flexible than most movies because there’s a playful recognition that it is a movie and he can talk to the camera. That idea was part of the original thought I had for the movie, before House of Cards happened, but not before Ferris Bueller. Talking to the camera has been with us for a long time, but it felt appropriate that someone as self-conscious and self-confident as Milgram would do it. In fact, Milgram made a series of films in which he talked to the camera. Milgram was aware that reality shifts and we have different ways of interpreting things.

Talk about your use of rear-projection.
It was meant to reflect the way that a lot of situations in life are staged, that we’re constantly acting. There’s a level of reality that feels distanced from our more immediate experience. Going to see an old mentor with your new wife can be a play, almost. You’re dressing up and trying to be somebody bigger than you are. Throughout the movie, there are these elements of staged reality where I wanted to be candid about it and allow the audience to see that there’s an element of play and performance.

Peter is very likable in the movie, and I think that’s critical.
I hoped he’d be charming and compelling. I’d known him for a while, and the key to casting this role was that he had to be agile with language. You had to believe he could write a book. Peter’s a really good writer on his own, and I think he’ll be directing movies soon. The last shot of the movie was his idea, and it wasn’t in the script and it wasn’t meant to be the last shot. When we were shooting, he said, “It could be interesting if I tried to wave to Sasha but she doesn’t see me.” I was grateful for that and it ended up being a very poignant way to end the movie.

How did you decide which aspects of Milgram’s life outside of the experiments to show?
Almost nothing in the movie is made up. The biggest liberty I took was that he never visited the set of the made-for-TV movie. I simply took what I thought was compelling. I thought it was pretty organic and cohesive that one experiment led to another and they reflect back on each other and his own experience being a human in a city. We often have these barriers that are unspoken, and he tried to make us more aware of them.

You said you wanted to make the kind of movie Milgram would make himself.
I was trying not to make a plodding, literal-minded biopic. He was a talented filmmaker. He made two films that I think are truly wonderful films. One is called Obedience, which was shot during the last two days of the experiment. It’s very compelling and Roger Ebert called it one of the ten most important documentaries ever made. The other is The City and the Self, where he was roaming around New York with a camera, staging experiments. It’s a city portrait from the ’70s, a very lyrical documentary. In 1974, he was approached by a BBC crew to talk about the experiment and he was apparently so authoritative and compelling that they let him write his own movie [instead of being the subject]. It’s called We Do As We Are Told.

Talk about casting known actors in the roles of the subjects as opposed to more obscure names.
To me, they weren’t that well known. I wanted interesting people who were compelling. I wanted each role to have an impact. Part of the luxury of making a low-budget film is that I asked the best people I know if they had anything better to do, and they said yes. There’s another version of the movie where everyone is more anonymous, but I didn’t think it served the story any better.

I thought Jim Gaffigan was great.
He was an early choice. I didn’t know about him. I’d thought about Philip Seymour Hoffman, who I’d asked to be in about seven of my movies and who kept not being in my movies. He was actually signed, but he got a better offer. He looked like the real guy. Gaffigan was recommended and I started watching these Youtube clips and I was completely captivated by him.

Sasha Milgram is in the film. What did she think of it?
I think she liked it. She’s frail and she’s so supportive. I showed it to her at her house on DVD. What was touching was, at a certain point, when her character comes up she turns to me and says, “That’s Winona Ryder!” She was very excited. She’s great.

What do you think Stanley’s greatest fear was?
I think the real Stanley was probably more prideful than he is in my movie. But at the same time he’s smart and aware of his own foibles. There’s one quote of his I didn’t put in the movie that had something to do with that, to be a good social scientist, you have to have courage. I think, whatever fears he had, he was pretty good at mastering them.

To watch Experimenter is to subject yourself to a form of filmic mind manipulation, in which the movie’s central character, Stanley Milgram (played by a coolly cerebral Peter Sarsgaard), looks directly into the camera, at us, and seems to measure our reactions to his unlikely life story. It’s a strange, unsettling, but almost playful experience watching Sarsgaard watch us. It’s this mischievousness that makes the film, directed by Michael Almereyda, one of the more unique, oddly entertaining things you’ll find at the cinema this fall.

Milgram is  a real-life figure, a late, influential social psychologist whose most notable (notorious) work was a Yale experiment in which subjects would administer increasingly violent electric shocks. A volunteer is told that a fellow lab rat (Jim Gaffigan) is sitting on the other side of a wall, his fingers hooked up to the electric shock machine that’s under their command. The second volunteer plays a memory game, and for every wrong answer he receives a shock by their counterpart on the other side of the wall. In reality, the second “volunteer” is actually an actor and isn’t hooked up to anything (Gaffigan feigns wails of pain with each fake zap). Milgram’s interest is the subject’s behavior: How much punishment are the subjects be willing to inflict on another, innocent human being?

The results of this “obedience” test are alarming—65% continued administering shocks despite the man beyond the wall pleading with them to stop. The film shows a variety of test subjects, each played by famous character actors. Anton Yelchin, John Leguizamo, Taryn Manning each play subjects and while their screen time is fleeting, they get their mini chamber stories across. Watching the inner turmoil bubble up in their facial expressions is mesmerizing and unsettling.

The intermittent moments when Milgram turns to us to comment on what we’re seeing are unforgettable not just because it’s visually, but because Sarsgaard is magnificent. As Milgram he’s calmly deceptive, as if the words coming out of his mouth are a cover-up for the ominous thoughts he’s processing behind his steely eyes. It’s easy to fall into a state of hypnosis as he slips his heady ideas underneath your eyelids and into the back of your mind.

Milgram’s ethicality comes into question when we learn that he rarely interacts with his subjects despite arguably putting them through a form of emotional torture. Surely he owes them the baseline courtesy of a personal interaction, or even a thank you. But no. He’d rather leech behavioral data from the volunteers and promptly kick them back to wherever they came from. His proclivity for emotional detachment starts to affect his personal life when his supportive wife, Sasha (Winona Ryder), starts to feel as shunned as his lab subjects. Milgram’s personal life is covered in a cursory way that wastes Ryder’s talents and makes his home life feel not just secondary, but disposable to the larger story. This bit of narrative negligence may be a fair reflection of Milgram’s state of mind at the time, but if this part of his life was so unimportant, why include it in the movie to this extent? At the very least, Ryder and Sarsgaard work very well together, and it definitely doesn’t hurt that they look good as a couple.

The movie’s disappointing final act is concerned with the fallout of the experiment and the devastating impact it had on Milgram’s reputation and career. Both Almereyda and Sarsgaard seem half as emphatic in depicting Milgram’s downfall as they are the movie’s strong front-end. Experimenter is gripping in that it allows us to spend time with this brilliantly realized character, an outcast who’s so out of touch with others that he only opens up completely to us, his imaginary friends. That’s when the movie works best, when we’re falling down the rabbit hole of Stanley’s mind. The movie’s imagery turns surreal, with literal elephants in the room trailing Stanley as he spouts his babble at us and rear-projected images that reflect the academic artifice that defines his personality. His behavior is more shocking than his poor subjects’. And yet, we want to be near him.

The name Stanley Milgram might not ring a bell for a lot of people, but his work as a social psychologist might. Milgram had a hand in creating some of the most fascinating social experiments in the 20th century (one of his experiments helped introduce the concept of “six degrees of separation), with his most famous study being the obedience experiments he conducted at Yale in the 1960s. His obedience experiments revealed a disturbing truth about society and people’s willingness to obey authority figures even if they don’t want to. Milgram helped expose a fundamental flaw in humanity’s own construction of itself, and even today some people turn a blind eye towards Milgram’s findings. Taking a cue from Milgram’s work, writer/director Michael Almereyda has crafted a brilliant biopic of Milgram with Experimenter, one that’s playful, enlightening and subversive from beginning to end.

Taking advantage of the fact that his subject spent a living experimenting with confronting societal norms, Almereyda continually messes around with the norms and structures of biopics and filmmaking in general. Milgram narrates and addresses the camera directly, frequently breaking the fourth wall and discussing his life with an omniscient tone, while the film frequently embraces artifice in its form: rear projection, theatrical sets, blending in documentary footage, asides detailing other social experiments from Milgram’s colleagues, and at one point making the term “elephant in the room” more literal than metaphorical. Almereyda’s direction is nothing short of brilliant here in the way it channels the spirit of Milgram into its own conception.

Peter Sarsgaard plays Milgram, and even he seems aware that this is his best role in years, relishing in his character’s charm and playfulness. Winona Ryder also does a great job playing Milgram’s wife Sasha, turning what could have easily been a thankless role into one that carries the film’s emotional weight. Both actors are part of a strong, eclectic ensemble (including John Leguizamo, Jim Gaffigan, Taryn Manning and Anton Yelchin), but this is really Almereyda and Sarsgaard’s show. It will be hard to imagine any other biopic topping Experimenter this year.

Love & Mercy

Brian Wilson wrote some of the most beautifully complex pieces of music in history throughout his decades-long career with the Beach Boys and beyond. But as a person, he’s more beautifully complex than anything anyone could ever write. Bill Pohlad’s Love & Mercy explores Wilson’s psyche from two angles, focusing on the biggest artistic and personal turning points in his life. Paul Dano plays a Wilson as a young man in the Beach Boys’ heyday, in the midst of writing what would become one of the greatest albums of all time, Pet Sounds. Making up the other half of the movie is a more recent, frightening period in Wilson’s life (he’s played here by John Cusack), when he was under the (highly medicated) spell of unethical therapist Dr. Eugene Landy (Paul Giamatti), his only protection from whom being his beach blonde soul mate, Melinda Ledbetter (Elizabeth Banks).

Alternating between the two Brians is a welcome break from the typical biopic schematic. Dano’s resemblance is scary uncanny, and while Cusack’s isn’t so spot-on (I didn’t see it, to be honest), their commitment as actors is about level. Beach Boys fans will suffer uncontrollable geek-outs during the Pet Sounds studio session reenactments, but the real value of the film lies in the respectfully unkempt and fraught depiction of Wilson’s legacy as both a musician and a man.

Experimenter

Slipping between several planes of reality with the nimbleness of a jazz ensemble, Michael Almereyda‘s Experimenter, starring Peter Sarsgaard as late social psychologist Stanley Milgram, is more of a delectable treat than the dark subject matter might lead you to believe. It centers on Milgram’s famed contributions to the world of social experimentation, most notably his controversial experiment on obedience conducted in the ’60s. We see the Holocaust-inspired experiment—involving test subjects led to believe they’re remotely causing harm to a man in an adjacent room (played by Jim Gaffigan)—reenacted by a litany of strong players, including Anton Yelchin, John Leguizamo, Anthony Edwards, and others.

The film sees Sarsgaard’s Milgram periodically address us, the audience, in cleverly worded monologues that highlight the actor’s natural wit and intellect. It’s fun to see Sarsgaard given so much breathing room; he has a lot of fun with the role, and so we do as well. Almereyda lets loose too, with neat touches like utilizing rear-projection backdrops and employing a real-life elephant to stalk behind Sarsgaard down a hall as a fun metaphor. Winona Ryder stars as Milgram’s wife, Sasha, and gives the film an emotional oomph whose importance is clearest by film’s end.

7 Chinese Brothers

Jason Schwartzman is ridiculously funny in Bob Byington‘s 7 Chinese Brothers, a film created in the Wild West indie landscape that panders to no one (mainstream audiences will likely balk at the quaint, offbeat humor), but will please crackpot-comedy weirdos (like yours truly) to no end. Larry (Schwartzman) is a small-town schlub who drinks his way into and out of menial jobs he can’t stand. He’s got his romantically savvy friend, Major Norwood (TVOTR’s Tunde Adebimpe), his silvery grandmother (Olympia Dukakis), and his impossibly drowsy dog (Schwartzman’s real dog, Arrow) to keep him company most days. When he finds himself gravitated to his new boss, Lupe (Eleanore Pienta), he’s shocked to discover that, for once, he actually looks forward to going to work.

A lot of the funniest stuff in 7 Chinese Brothers involves Schwartzman almost having a contest with himself, trying to come up with the most bizarre behaviors he can think of and making them as out-there as possible. It’s the little, absurdist stuff that makes you laugh, like Schwartzman throwing garbage into a garbage can, and then throwing said garbage can into a dumpster. Byington’s written a great script, too, each line of dialogue going in a different direction than you expected. Keep this one in mind.