As the landscape of home viewing and streaming continuously changes, major studios have taken more notice with schemes of simultaneous streaming/theatrical releases at a higher price point. Paramount is the next to come up with a streaming plan, though this is one that may have some legs. First reported at the Hollywood Reporter, the mega studio has partnered with mega theater chain AMC to shorten the theatrical release window for two upcoming films. Two October releases, Paranormal Activity: The Ghost Dimension and Scout’s Guide to the Zombie Apocalypse, will hit VOD just 17 days following its theatrical release (as opposed to the typical theatrical runs of 4-6 weeks for films of this size). This may be a small impact at this point, and you may not be interested in the two films that will experiment with the strategy, but it is important to know that Hollywood is taking more notice on how we consume films. It’s still difficult to see the theatrical model changing dynamically, but more diverse viewing platforms is a step in the right direction. Before you check out a new Paramount film from the comfort of your couch, here are some new titles to streaming to check out this weekend.

Netflix

Faults (Riley Stearns, 2014)

The best films of the year so far just keep dropping on Netflix. Faults, #19 on our mid-year best of list, is a thrilling and darkly funny two-hander between a woman escaped from a cult (Mary Elizabeth Winstead) and the crack deprogramer hired to ease her back into society (Leland Orser, in a career performance). Cults have been a hot topic in indie dramas the past few years, so now we’re seeing films able to take those tropes into new directions – Faults does so in clever and rewarding ways. In our “Must See Indie” review of the film we called it an “original feature debut, a compelling chamber piece boasting fantastic performances, and so soaked in charisma that it’s almost impossible not to be enchanted from hilarious start to insatiable finish.”

Other titles new to Netflix this week:
The Long Way Home (Mark Jonathan Harris, 1997)
The Search for General Tso (Ian Cheney, 2014)
Serena (Susanne Bier, 2014)
Wild Canaries (Lawrence Michael Levine, 2014)
Winston Churchill: Walking with Destiny (Richard Trank, 2010)

Fandor

A Woman Under the Influence (John Cassavetes, 1974)

This week Fandor is profiling the work of American indie pioneer John Cassavetes, with A Woman Under the Influence, his most vital film, being the highlight. Starring Gena Rowlands in her career defining performance, it is one of the most challenging looks at mental illness on-screen. Cassavetes’s matter-of-fact style puts you right in the room while the struggling Mabel and her hardened husband (Peter Falk) have a series of intense, emotional altercations. A Woman Under the Influence certainly isn’t an easy film-watching experience, but it is a perfect example of the power of cinema for character, story and thoughtful direction. Other Cassavetes films available on Fandor this week include The Killing of a Chinese Bookie, Faces, Opening Night and Shadows – and all are available without Fandor’s two-week viewing window, but that doesn’t mean you should wait to see this fantastic films.

Other titles new to Fandor this week:
Children of Paradise (Marcel Carné, 1945)
The Past Is a Grotesque Animal (Jason Miller, 2014)
Under the Roofs of Paris (René Clair 1930)
La Vie de Bohème (Aki Kaurismäki, 1992)
Vivre sa Vie (Jean-Luc Godard, 1962)

MUBI

A Simple Life (Ann Hui, 2011)

One of the unheralded auteurs currently working today, Ann Hui’s simple, touching films often look into worlds that aren’t represented well in cinema. A Simple Life is a great example of this, the story of an elderly maid after suffering a stroke. After moving to a retirement home, the woman begins a friendship with a young man she cared for as a maid for many years. Usually when a film is set in a retirement home there is some sort of evil or incompetence at play, or at the very least the staggering melodrama of aging, but Hui chooses to focus on simple pleasures like food and friendship. There are certainly dramatic elements that come into play, but the film never strains for them. It is a nice change of pace.

Other titles new to MUBI this week:
Artificial Paradises (Marcos Prado, 2012)
Blissfully Yours (Apichatpong Weerasethakul, 2002)
Fogo (Yulene Olaizola, 2012)
A Room with a View (James Ivory, 1985)
Tears of the Black Tiger (Wisit Sasanatieng, 2000)

Video On-Demand

’71 (Yann Demange, 2014)

One of the most overlooked films of this year, ’71 is a taught thriller starring Jack O’Connell as a British soldier who gets trapped behind enemy lines after an incident on the streets of Northern Ireland. A smart mix of action, thriller, war and espionage genres, ’71 perfectly uses its unique time and space to create a unique film. At times it feels like a 1980s hero-driven action flick before seamlessly transitioning into something like a supremely good John le Carré adaptation. Set in a highly political environment, the film deftly navigates the issues between the people and its government without being didactic. Now that ’71 is on DVD and VOD, it can hopefully find some legs as we begin ramping up to our best of the year lists.

Other titles new to VOD this week:
A Girl Walks Home Alone at Night (Ana Lily Amirpour, 2014)
Merchants of Doubt (Robert Kenner, 2014)
Red Knot (Scott Cohen, 2014)
Woman in Gold (Simon Curtis 2015)

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]

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

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Movies are a lot like cults. Think about it; strangers gather in a dark room to silently absorb a story directed, and often written as well, by one person (the leader) and told with the help of cast and crew (the cult members.) While not based on membership, the audience leaves the theater either as supporters or critics. This analogy may work better with some movies over others (the Transformers franchise is more like a corporation than a cult), but it certainly works with Riley Stearns’ fantastic indie genre gem Faults, and not just because the film’s primary subject is saving an innocent girl from an enigmatic cult. It’s an original feature debut, a compelling chamber piece boasting fantastic performances, and so soaked in charisma that it’s almost impossible not to be enchanted from hilarious start to insatiable finish.

Ansel Roth (Leland Orser) is a washed-up mind control expert who is touring with his new book, and stealing restaurant vouchers from garbage bags in the process. The book is not as successful as its predecessor, and his agent Terry cuts him off, demanding full payment for the money Ansel owes him within the week. Ansel’s seminars fail to spark enthusiasm from the half-empty conference rooms, apart from a man who blames him for his sister’s death, and an elderly couple who seek his help regarding their daughter. After refusing them at first, Ansel is compelled to help when he realizes that he has no other way to pay Terry. Claire (Mary Elizabeth Winstead) has left her home to join a cult that goes by the name of Faults and Ansel promises that he’ll do his best to “de-program” her, and bring her back home. Over the next five days, Ansel’s session with Claire results in dire psychological consequences.

Its premiere at SXSW earlier in the year started off the buzz (with our very own Dustin loving it to bits,) but Faults massively blinked on my radar when it was announced for Montreal’s genre festival Fantasia simply because I’ve become a bona fide Winstead fan, after her stunning performance in 2012’s Smashed. The streak continues here; she peels off Claire’s layers with agility and complete composure to reveal a fascinating and devilishly twisted character. But the pedestal has room for one more name: Mr. Leland Orser. As soon as you see him in the brilliant opening diner sequence, you’ll most likely go “oh yeah, that guy!” because he’s one of those actors you’re bound to have spotted somewhere. Examples include Liam Neeson’s buddy Sam from the Taken movies, the traumatized man who was forced to kill the prostitute in Seven, and countless TV appearances. Not that I’ve seen everything he’s been in, but dollars to doughnuts he’s never been as good as Ansel Roth, a role that proves how underrated and underused Orser has been all these years. It’s likely to remain one of the strongest male performances of the year.

As with any successful cult, its members are only as good as its leader (or so I’ve heard anyway), and the two leads wouldn’t have been able to pull off such startlingly good performances without Riley Stearns’ script and direction. The pitch black humor keeps the pacing of Faults at intoxicating levels; slow-burning yet never dull, with every scene crucial to the development of character, plot, and theme, more often than not all three at once. So controlled is the direction and so intelligent the screenplay, that it’s almost hard to believe this is Stearns’ first crack at features.

I’ve been joking around with the idea of cults in this review because Faults‘ shifty tone welcomes a lighter approach to the subject compared to, say, Martha Marcy May Marlene. If there’s something for critics to latch onto it could be that, but not me. Genre filmmaking is an end in itself, never pretentious, and always more about the journey than the destination. The simmering tension, controlled by Stearns at meticulous temperature levels, comes to such an entertaining climactic boil that it will have me cheering and supporting Faults, its leader and all of its members, for a long time to come. For lovers of intelligent suspense and sickly dark humor, Faults is home.

(Originally published on July 25, 2014 as part of our Fantasia festival coverage)

I was pleasantly surprised in the amount of quality films that I saw at the 2014 SXSW Film Festival, although I admit that I was fairly selective in the titles I wanted to see. My favorites range from time-traveling comedies to 80s throwbacks to absurd cult deprogramming. There were only a couple letdowns in the little more than a dozen films I saw, but even those had at least some redeeming qualities to them. A quick list of the more buzzed about films at the festival that I didn’t get a chance to see (thus didn’t make my list); Boyhood, Wild Canaries, Buzzard, and 10,000KM (Long Distance).

7 Favorite Films From SXSW 2014

#7 – Frank

What makes Frank such an entertaining watch is its whimsical approach to the outlandish storytelling. I had a couple minor issues with the film, but as a whole Frank is a sidesplitting comedy about finding one’s inner creativity.
Frank review

#6 – Ping Pong Summer

Apparently it was the year for 80s throwbacks at SXSW. While The Guest (also on this list) is a throwback to the action/thriller genre from that era, Ping Pong Summer is a nostalgic family vacation story that is filled with just about every cheesy cliché from the decade. It’s totally rad!
Ping Pong Summer review

#5 – The Internet’s Own Boy: The Story of Aaron Swartz

You don’t have to be a tech geek to understand the brilliance of computer programming guru Aaron Swartz or the impact of his work that prematurely ended when extraneous federal charges pressured him into committing suicide. This documentary reminds us that limiting the access to information is crippling on all levels.
The Internet’s Own Boy: The Story of Aaron Swartz review

#4 – Open Windows

Serving as an exploitation of technology and a satire on our obsession with Hollywood stars, Nacho Vigalondo’s Open Windows is a high concept thrill ride with numerous twists and turns along the way. Comparisons to a 21st century Rear Window aren’t unjust.
Open Windows review

#3 – The Infinite Man

The Infinite Man is an impressive directorial debut from Hugh Sullivan who bravely tackles the complex subject of time-travel with relative comfort. Intending to fix an anniversary weekend gone awry, the main character creates a machine to travel back in time to save his relationship.
The Infinite Man review

#2 – The Guest

The only midnight film I caught at the festival happened to be one of my favorites. The Guest is a 80s inspired atmospheric thriller that wonderfully combines Terminator like action with a pulsating soundtrack and thrills of Halloween. This is the perfect film to watch with a rowdy midnight crowd.
The Guest review

#1 – Faults

One of the most unique films I saw at the festival this year was an off the wall comedy called Faults, a film about an eccentric cult deprogrammer who is hired by a couple to help snap their daughter out of a cult spell. Faults is completely absurd and challenging in all the right ways.
Faults review

Joe

Director David Gordon Green returns to the indie festival circuit after last year’s Prince Avalanche with a new film starring Nicholas Cage and Tye Sherdian entitled, Joe. Named after one of the main characters (Cage), Joe is about an ex-con who operates a forest clearing business. Set in the hot and humid summer in the Deep South, Joe hires a 15-year-old drifter named Gary (Sherdian) who is eager to work under any circumstances.

If Gary isn’t throwing punches at people that underestimate his strength, he is receiving punches from his abusive piss drunk father. Joe takes it upon himself to take Gary under his wing and begins to form a father figure type bond with the young teenager. What unfolds is brutally violent film that centers on this unlikely friendship that provides a safe haven from his nasty home life.

The biggest problem in Joe is that the film insists on reinforcing what has already been well established. Just about everyone in the film holds a drink in one hand and a cigarette in the other, and if you add up the aspirations of all the characters, it would amount to almost nothing. Strong performances and beautiful scenery found within Joe are undeniable, but the graphic exploitation of its characters takes so much focus that it becomes overwhelmingly exhausting.

RATING: 6.6

Faults

Austin native Riley Stearns hits it out of the park with his first feature-length film Faults, which follows an eccentric cheapskate named Ansel Roth (expertly played by Leland Orser) who is considered an expert deprogrammer of cult members. Willing to do anything for a free breakfast, Ansel agrees to hear out a husband and wife’s plea to deprogram their daughter named Claire (Mary Elizabeth Winstead), who has been brainwashed by a cult called Faults. He accepts the job after his previous manager demands a large sum of cash that he is unable to pay back.

Faults starts off as a comedy–a fantastic opening scene involves Ansel trying to use an invalid coupon at a restaurant–then quickly morphs into darker territory when Ansel is hired to kidnap and deprogram Claire. This beyond bizarre comedy features an incredible plot twist near the end that involves Ansel losing own mind while attempting to correct Claire’s. Faults is challenging film in all the right ways and was the most satisfying film that I have seen at SXSW so far.

RATING: 8.4