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)

Special guest Dave Boyle joins this week’s show to talk about his San Francisco-set neo-noir, Man From Reno. In honor of the film, Bernard, Dave and CJ share their favorite SF-set movies as well as their Indie Picks of the Week. Plus, Bernard reviews Woody Allen’s latest, Irrational Man, starring Emma Stone, Joaquin Phoenix, and Parker Posey.

Also, a quick shout-out to our sponsor MUBI, the curated online cinema that brings its members a hand-picked selection of the best indie, foreign, and classic films. Visit www.mubi.com/waytooindie to try MUBI free for 30 days.

Topics

• Indie Picks of the Week (1:16)
• Man From Reno (9:58)
• Favorite San Fran Movies (16:25)
• Irrational Man Review (38:12)

WTI Articles Referenced in the Podcast

I Am A Ghost review
H.P. Mendoza interview
The Stanford Experiment review
3 1/2 Minutes, 10 Bullets review
Man From Reno review
Dave Boyle interview
Irrational Man review

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It came as a bit of a surprise to me that Woody Allen‘s latest, Irrational Man, marks the director’s very first collaboration with the “Queen of the Indies” herself, Parker Posey. In the dark collegiate comedy she plays Rita, a lonely woman in an unfulfilling marriage who’s drawn to a similarly depressed philosophy professor (Joaquin Phoenix), whose affections are split with a bright, young student (Emma Stone).

Fans have been itching for years for a director to open the floodgates and let Posey unleash her full range of talents as a film’s lead, and though she plays only a secondary role in Allen’s film, it will hopefully mark the start of a long and fruitful partnership between she and the legendary auteur. They’re slated to work together again for Allen’s 2016 project, and I couldn’t me more excited.

During Posey’s visit to San Francisco on the Irrational Man press tour, I spoke with her in a roundtable interview about working with Allen for the first time, her favorite movies in her filmography, a hilarious deleted scene from Best in Show and much more. Irrational Man is out in theaters this Friday, July 24th. [Warning: minor spoilers ahead.]

Having so much experience under your belt as an actor, do you find it easier at this point in your career to get into a dark headspace for a role? Rita is a lonesome woman.

Experience really builds and ages you in a way where the disappointments can make you feel lonely. I was really happy that I was at the right temperature at this time in my life to express that.

There are elements of Rita’s arc that remind me of your character in Personal Velocity. That movie left me wondering what would happen next for this woman. In your mind, where does Rita go after the end of the movie?

I think it’s really tragic, what happens to her. Hopefully she has a good therapist after suffering this disappointment. I think she has enough hold of her fantasy to bounce back from the “irrational man.” She’s intelligent, even if she’s lost herself. She can easily drown in the waters of him, and Emma, too. They both survive this man. It’s a really cool story, for that reason.

Woody Allen has a famously laid-back directing style. Is that something you appreciated, or did you want a more hands-on approach on-set?

I like a lot of freedom when I work, to be left alone in the world that’s been created for you. We’re sliding into this realm. What was different was, after [shooting], he was nowhere to be found! He’d be in the car, going to dinner. [laughs] It’s practical, too. I want to do well, because he has to go to dinner. We all have to eat, even Woody Allen. That’s something that’s very particular to him. He’s going to be 80 this year, and he has a body of work that’s so impressive. The stakes are already high, but he knows that. His ear is so subtle. He doesn’t want any acting; he wants you to be real. I like that way of working.

I was surprised when I realized that you two hadn’t worked together before.

That’s what everyone says!

I think fans who’ve been rooting for you for years…we’ve been waiting for a director to really unleash you, if you know what I mean.

I’m ready to unleash as well! It’s really frustrating to see stories change. I fantasized as a teenager about growing up and becoming a woman and being in grown-up movies. Now, it’s a lot action and werewolves and genre and vampires and video games and sci-fi, movies that are crafted for a gaming culture. The economy’s not that great and people aren’s seeing movies like they used to, so we’ve suffered the loss of a style and a form that we’ve seen kind of disappear. Part of this experience was feeling really blessed.

I do belong in his world and in these kinds of movies. I cherished the experience. To work with someone who is so talented and has a particular way of working—[I was] able to trust that, even if it was hard. I remember he came up to us one day and was like, “What I wrote isn’t very good. You can add whatever you want; feel free.” I added something, and I hear from the video monitor: “That’s terrible!” [laughs] I was like, “Okay. Where’s the shovel, so I can go bury myself?” You’re laughing and crying at the same time.

Didn’t he come up to you and Joaquin early on and tell you you wouldn’t be fired?

Yeah, yeah. And he put his hands out in a really funny way. “Neither of you are getting fired!”

Did that have any effect on your confidence?

Yeah, of course. But he can very easily elicit that feeling from his actors. That’s his right, if it’s not the right fit. You’re in service of his world and his point of view and what he’s trying to accomplish.

Having job security is a good thing, right?

Yeah. We talked about whether I’d be able to survive being let go, or not being right for the part. I think so. I think so. It was a lot of that at work, which also led to, “I hope I’m still in the movie.”

Well, your name’s on the poster, so that’s a good sign.

I know. They reassured me that I was [in it]. [laughs] I only got my twenty pages, so I didn’t know how important my part was. Woody Allen isn’t the kind of writer who says, “Oh, I’ll figure it out in editing,” you know? He does no ADR. He doesn’t like to loop. So you do a scene and he says, “That was good. But it wasn’t good for sound. We’re gonna go again.” I say, “Well, I’m good at ADR!” But he says, “Well, I don’t like doing that.” It brings such a focus and concentration with the whole crew and the actors. It’s a sport, in a way. You feel like you just want to hit what’s happening live on-camera. Joaquin’s so great. He has so much going on, so it’s easy to connect with him.

A minute ago you were talking about how the movie landscape is changing. We mostly see superhero and sci-fi movies in the theater. You’ve had a turn or two in big-budget movies, specifically Superman Returns, which I thought you were the best part of. I’m curious what your experience on that film was.

It was great. We were in Australia for two months with Brian [Singer]. He’s very talented. He’s very special to be an independent director and be able to go into the $200 million budget with spontaneity.

Would you be open to doing another film like that again if Marvel or DC came calling?

Oh, yeah. I think there’s a misconception [about that movie]. I had a good time approaching that character from the outside of the comic book; what she looks like, how she acts—it’s a different style and I really enjoyed it. It’s condensed and crystallized and a little exaggerated, I guess.

You get to go toe-to-toe with Kevin Spacey in most of your scenes.

I like working with great actors, regardless of budget.

Nothing’s made me laugh harder than your “Busy Bee” scene in Best in Show. Why do you think your fans have latched on to that scene in particular?

I don’t know. I guess it’s just so absurd. That’s all Chris[topher Guest] to me, though. It’s not like I wrote the scene. There was a scene that was cut in that movie where I find a piece of dog poop in my husband’s slipper. Very deliberately, the dog pooped right in there. I’m talking to my cleaning lady like, “How did this happen? What are you going to do about this?! How am I supposed to clean this?!!” It was such a funny thing. That’s all Chris. I wish I knew why that was cut. I guess it lasted too long or didn’t make it into the editing. Just that idea that a dog could be so upset—and a big dog, too! He has a little poop, right in there. It’s just so funny. I can’t take it.

Is there any movie fans bring up that surprise you? Like, “Wow—that took hold!”

The Christopher Guest movies. Dazed and Confused. The Hal Hartley movies. Blade. The House of Yes.

I was hoping for Scream 3 or Josie and the Pussycats.

There are the girls I did Josie for specifically, the twelve-year-olds. I wanted to be really silly and funny to appeal to a seven or eight-year-old. It’s so stupid and fun, something that kids do. Party Girl has lasted.

You’ve been on press tours a lot. Is there one question you wish would go away?

That question. [laughs] When you’re asked a question about, “Time Magazine calls you ‘Queen of the Indies,'” I never knew how to answer that. I was called that at a particular time, and then the industry became something else. Then it becomes about your fame and “What’s it like to be called that?” It’s not like I wake up every morning and my neighbor’s like, “Indie Queen!” You know what I mean?

There’s always that guy—that mopey, beer-bellied loser who sits alone by the fireplace at house parties, looking too lost in thought to give a damn about the goofs dancing around him. He’s the loneliest man in the world. Funny thing: he never leaves the party alone. That’s because there’s always that girl. That warm, doe-eyed girl who finds his wallowing sexy as hell. She’s drawn to him as if under a spell, petting his head like a sick puppy. They always leave together, and it always ends in disaster.

In Woody Allen‘s collegiate comedy Irrational Man, Emma Stone plays that girl to Joaquin Phoenix‘s that guy. A depressed college professor, Phoenix’s Abe Lucas shows up for his first day on the job at fictional Braylin College drunk and stumbling, his reputation as an distinguished philosopher the only thing keeping the dean and other staffers from sending him back home packing. He’s a tormented asshole, bored with the world, imposing his passion for indifference on his students. He sees potential in undergrad Jill (Stone) as a writer; she sees potential in him as her future husband. As Jill becomes more forthcoming about her feelings (it doesn’t take long), Abe insists they keep their afternoon talks strictly platonic, which of course only fans the flames of her desire.

Abe’s less reluctant to romp around with academic colleague Rita Richards (Parker Posey, again stuffed in a role too small), a similarly reclusive soul who offers to “unblock” him after she slinks into his faculty housing for an unexpected late-night rendezvous. Their sad-sack sex sessions are a mostly agreeable distraction for Abe, though he continues to spend lots of time with Jill, chatting about existentialist philosophy over coffee and toast. When they eavesdrop on a curious conversation from a neighboring booth at their local diner, the plot gets strapped with rocket-boosters: Abe finds himself reawakened when, inspired by what he overhears, he decides to plan the perfect murder, offing a total stranger in a stunt of misguided vigilante justice. The fact that he’s a professor of “ethical strategies” is the cruel joke of the movie.

Naturally, Abe’s rejection of Jill’s advances gets reneged when the heat between them becomes undeniable (his newfound—albeit twisted—sense of purpose has also lifted his spirits considerably). Phoenix and Stone, sadly, never reach such levels of synchronization. Maybe it’s her age or her eagerness to impress Mr. Allen, but Stone (like many other actors, to be fair) recites Allen’s dialogue in that stagy, stringent way that suggests they’re inextricably bound to the page. Allen’s writing is good (especially his one-liners), but much like Wes Anderson, you sometimes wish his characters would just cut the shit and talk like normal people.

That’s why Phoenix is so great in this movie; he messes with the game-plan a bit. He breaks up the typical Woody Allen cadence, slurring Abe’s words and taking labored, deep breaths to a rhythm all his own. Allen’s known for giving his actors little to no feedback, and Phoenix and Stone seem to react to that pass/fail style of directing in dramatically different ways, resulting in a pair of disparate performances, one doggedly disciplined, the other wild and naturalistic. Neither are bad, though Posey’s unhinged energy aligns more with Phoenix, making Stone feel even more fractured from the group. It’s frustrating that Posey continues to be cast in roles beneath her gifts, but it’s nevertheless a treat to see her finally collaborate with Allen.

Abe and Jill’s romance is one of Hitchcockian flavor, defined by dangerous obsession and poetic twists of fate. There are some amusing homages to Hitchcock classics, like when we see Abe and Jill stroll through a brightly-lit nighttime fairgrounds á la Strangers on a Train. Still, Allen is in his own voice, focusing on humor and theme rather than suspense. The writing’s at its most playful in the movie’s second act, where we follow Abe opening up to Jill and gleefully plotting out his broad-daylight assassination. Before and after this middle section, the movie feels stilted, save for a wickedly funny life lesson Abe teaches his students via an impromptu game of Russian Roulette.

For a movie about intellectuals rattling off eloquently-worded philosophical sermons, Irrational Man feels strangely shallow. These themes of blocked-up libido, cross-generational romance and existentialist neuroses have all been covered in previous films of Allen’s, which makes his latest seem destined to fade into the background of his crowded oeuvre like so many others. Phoenix is so chaotic and off-kilter as the miserable anti-hero, though, that he manages to keep you on your toes when the movie threatens to fall flat.

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

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

Slow West

(May 15th)

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

Heaven Knows What

(May 29th)

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

Me and Earl and the Dying Girl

(June 12th)

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

Dope

(June 19th)

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

Tangerine

(July 10th)

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

Irrational Man

(July 17th)

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

Mr. Holmes

(July 17th)

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

Southpaw

(July 24th)

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

Unexpected

(July 24th)

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

The End of the Tour

(July 31st)

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

Sinister 2

(August 21th)

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

Woody Allen‘s summer movie has become an annual event. For well over two decades the writer/director has pumped out a film a year from his shoebox of notes–his work ethic has to be admired. But he’s always been hit or miss, and lately the pattern has seen something good pop up every other year (two years ago we got Blue Jasmine, two years before that Midnight In Paris, between those films we got the forgettable When In Rome and the harmless Magic In The Moonlight). So, the question is, will Allen stick to that formula and give us something noteworthy this year?

Irrational Man surely has potential. The film is led by the excellent pairing of Joaquin Phoenix and Emma Stone, which is more than enough to put tickets in our hands. The always great Phoenix has been on something of a tear of late with his odd ball roles in Her and Inherent Vice, Irrational Man looks to keep up the same sort of wacky/serious vibe.

Like most Allen films, the plot details are scarce: Irrational Man follows a philosophy professor (Phoenix) in the midst of an existential crisis who falls for a student (Stone). As per usual, the film was written and directed by Allen himself (he trusts no one). The small cast is rounded out by Jamie Blackley (If I Stay) and Parker Posey(Grace Of Monaco).

Irrational Man opens July 24th. Check out the very Woody Allen-esque first trailer below.

Irrational Man Official Trailer

On this week’s extra-packed episode of the Way Too Indiecast, Bernard, CJ, and Dustin discuss the 2015 Cannes Film Festival lineup, which looks to break the mold and announce some new filmmakers into the fold as opposed to showcasing the same old faces. Then, inspired by the recent release of While We’re Young and the upcoming The Age of Adaline, the gang talk about the subject of aging in film and why we find it so endlessly fascinating. Also on the show, “Name 5” returns and the boys share their indie picks of the week. Enjoy, friends (while we’re young)!

Topics

• Indie Picks of the Week (2:12)
• Cannes 2015 Lineup (13:10)
• Name 5 (33:58)
• Aging in Film (39:04)

WTI Articles Referenced in the Podcast

2015 Cannes Lineup

While We’re Young review

Different Drum review

Kevin Chenault interview

Blue Jasmine review

Before Midnight review

112 Weddings review

Doug Block interview

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Just last week the lineup for the 2015 Cannes Film Festival was announced, and slowly more information about the films playing is starting to surface. While many of the films don’t even have official synopsis yet, a select few have released images and trailers. It’s hard to believe that 2015 Cannes is less than a month away already (this year the festival runs from May 13th – May 24th), but we’ll be keeping this festival media guide updated as the festival approaches and more information about Cannes titles come in.

Amnesia

Amy

A documentary on the late singer/songwriter, who died of alcohol poisoning in 2011.

Carol

Set in 1950s New York, a department-store clerk who dreams of a better life falls for an older, married woman.

Irrational Man

On a small town college campus, a philosophy professor in existential crisis gives his life new purpose when he enters into a relationship with his student.

Inside Out

After a girl moves to a new home, her emotions are plunged into chaos as they compete for control of her mind.

The Little Prince

A pilot crashes in the desert and meets a little boy from a distant planet.

Mad Max: Fury Road

In a post-apocalyptic world, in which people fight to the death, Max teams up with a mysterious woman, Furiousa, to try and survive.

Mia Madre

Our Little Sister

A story that revolves around three sisters who live in their grandmother’s home and the arrival of their 13-year-old half sister.

Sicario

The Tale of Tales

Cannes Film Festival director Thierry Fremaux and president Pierre Lescure announced this morning the films that will play at the 2015 Cannes Film Festival. This comes just days after announcing the opening film Emmanuelle Bercot‘s La Tete Haute. Premiering at the festival this year will be Paolo Sorrentino‘s The Early Years, Todd Haynes‘ 1950’s romantic drama Carol (starring Cate Blanchett and Rooney Mara), Woody Allen‘s Irrational Man, and Yorgos Lanthimos‘ highly anticipated follow-up to Dogtooth called The Lobster. Also playing will be Pixar’s animated film Inside Out, Gus Van Sant‘s Sea of Trees (starring Matthew McConaughey and Naomi Watts) and a special screening of Natalie Portman‘s A Tale of Love and Darkness.

While the bulk of competition and out-of-competition titles were announced, a few more films are expected be added to the lineup over the next few weeks. The Cannes Film Festival this year runs from May 13th – May 24th.

Opening Film

Standing Tall (La Tete Haute), Emmanuelle Bercot

Competition

Carol, Todd Haynes
Macbeth, Justin Kurzel
Dheepan, Jacques Audiard
La Loi du March, Stephane Brize
Marguerite and Julien, Valerie Donzelli
The Tale of Tales, Matteo Garrone
The Assassin, Hou Hsiao Hsien
Mountains May Depart, Jia Zhangke
Our Little Sister, Hirokazu Koreeda
The Lobster, Yorgos Lanthimos
Mon roie, Maiwenn
Mia Madre, Nanni Moretti
Son of Saul, Laszlo Nemes
Youth, Paulo Sorrentino
Louder Than Bombs, Joachim Trier
Sea of Trees, Gus Van Sant
Sicario, Denis Villeneuve

Out of Competition

Mad Max: Fury Road, George Miller
Inside Out, Pete Docter, Ronaldo Del Carmen
Irrational Man, Woody Allen
The Little Prince, Mark Osborne

Special Screenings

A Tale of Love and Darkness, Natalie Portman
Asphalte, Samuel Benchetrit
Panama, Pavle Vuckovic
Amnesia, Barbet Schroeder
Hayored Lema’Ala, Elad Keidan
Oka, Souleymane Cisse

Midnight Screenings

Amy, Asif Kapadia
Office, Hong Won-Chan

Un Certain Regard

Madonna, Shin Suwon
Maryland, Anna Winocour
The Fourth Direction, Gurvinder Singh
Masaan (Fly Away Solo), Neeraj Ghaywan
Hruter (Rams), Grimur Hakonarson
Kishibe No Tabi (Journey to the Shore), Kiyoshi
Je Suis Un Soldat (I Am a Soldier), Laurent Larivere
Zvizdan (The High Sun), Dalibor Matanic
The Other Side, Roberto Minervini
One Floor Below, Radu Muntean
Shameless, Oh Seung-Uk
The Chosen Ones, David Pablos
Nahid, Ida Panahandeh
The Treasure, Corneliu Porumboiu