One of our favorite streaming services, Fandor, reached their 5th birthday this week. To celebrate, they have created a special Spotlight series called “Fandor Essentials,” highlighting the films that most fit the Fandor spirit. Nineteen films are featured, spanning foreign cult films and avant-garde indies, with most of the films available to stream in HD. A few of our favorites include Yorgos Lanthimos’s breakout Dogtooth, Mario Bava’s chamber murder mystery Blood and Black Lace, Werner Herzog’s epic Aguirre: The Wrath of God, Jeff Malmberg’s unforgettable doc Marwencol, and Guy Maddin’s insane The Forbidden Room. Even if you’ve seen all of these, there are undoubtedly others completely off your radar. What better way to revel in the wonders of streaming cinema than by taking in the best on Fandor? For other films new to streaming this week, check out the list below:

Netflix

Batkid Begins (Dana Nachman, 2015)

It’s pretty easy to be cynical about a doc chronicling the highly publicized Make a Wish Batkid project from 2013. For one day, San Francisco was transformed into Gotham City and a six-year-old kid was the only hope to save the estimated 12,000 onlookers from the Penguin, the Riddler and other super villains. The doc meets all the major players and goes through the steps on how they built this incredible event—and you’ll find it tough to keep the smile off your face. There isn’t a lot of heavy substance to Batkid Begins, but it’s a wonderful condensed recap and look at the greater cultural impact. It’s a breezy profile doc entertaining enough to restore your faith in humanity, if only for its runtime. For more on Batkid Begins, check out our full review.

Other titles new to Netflix this week:
The Art of Organized Noize (Quincy Jones III, 2016)
Bombay Velvet (Anurag Kashyap, 2015)
The Forbidden Kingdom (Rob Minkoff, 2008)
The Pearl Button (Patricio Guzmán, 2015)
A Promise (Patrice Leconte, 2013)

Fandor

La haine (Mathieu Kassovitz, 1995)

In this week’s “Criterion Picks,” Fandor takes a look at some beautiful and insightful films tackling one of the most pressing political issues of our time, the immigrant experience. Among the highlighted films is the stylish ’90s French breakthrough, La haine (Hatred). In the lower class suburbs of Paris, the film takes place over a 24-hour span in the immediate time before and after an act of violence and ensuing riot. The main characters’ immigrant status plays a large role in their position and actions they’ve taken, shining a light on the complicated nature of the hot topic. Other films in the series include El Norte, Stromboli, Colossal Youth, Le havre, and more. These films are all available on Fandor for a limited time, until Sunday, April 3.

Other titles new to Fandor this week:
Discontinuity (Lori Felker, 2016)
Heavenly Pursuits (Charles Gormley, 1986)
Lou! (Julien Neel, 2013)
Potiche (François Ozon, 2010)
Sister (Ursula Meier, 2012)

MUBI

I Used to be Darker (Matthew Porterfield, 2013)

Matthew Porterfield is one of the more interesting independent filmmakers working today, and his 2013 film I Used to be Darker was a definite progression from his previous work, which tended to be very raw aesthetically and in narrative. This film is a simpler character study of a young woman from Northern Ireland who finds herself emotionally lost while living in the Baltimore area and navigating the troubled lives of her family. I Used to be Darker is filled with musical performances that build the emotional resonance of its characters while working outside of the overall narrative. Porterfield’s experience in non-narrative filmmaking really shows off throughout I Used to be Darker, allowing for a simple narrative structure to be subtly infused with much more life. You can stream I Used to be Darker on MUBI until April 22.

Other titles new to MUBI this week:
Night Train (Diao Yi’nan, 2007)
Oxhide II (Liu Jiayin, 2009)
La Sentinelle (Arnaud Desplechin, 1992)
Something, Anything (Paul Harrill, 2014)
Trainspotting (Danny Boyle, 1996)

iTunes & Video On-Demand

The Revenant (Alejandro González Iñárritu, 2015)

Love it or hate it, the 2016 Academy Award winner for Best Cinematography, Best Director and Best Actor is one of the most bombastic technical achievements of last year. If you were hesitant to go through the 160-minute trek through the treacherous Western wilderness in theaters, you can now take the dangerous journey in the comfort of you living room on demand. And if you’re still on the fence, check out the epic amount of content on Way Too Indie: our plea for an honorable mention among the year’s best, our praise of Leo DiCaprio’s Oscar-winning performance, our full theatrical review, and a different opinion on the most annoying aspects of the very self-important work of art. Check out the film on iTunes weeks before its release on DVD and Blu-ray, if only to have your own opinion on the critical divide.

Other titles new to VOD this week:
The Forest (Jason Zada, 2016)
Ice Age: The Great Egg-Scapade (Ricardo Curtis, 2016)
The Last Treasure Hunt (Patrick Biesemans, 2016)
The Letters (William Riead, 2014)
Riot (John Lyde, 2015)

Film Independent announced the nominations for the 28th annual Independent Spirit Awards this morning by Zoe Saldana and Anna Kendrick. Last year many of the award winners went on to win Oscars but I suspect that will be a little different this year. The winners will be announced at the 28th annual Film Independent Spirit Awards on February 23th and the broadcast will air at 10 p.m. ET/PT on IFC.

There were two films that tied for the most amount of nominations and those were Wes Anderson’s Moonrise Kingdom and David O. Russells’s Silver Linings Playbook with five total nominations. Both of the films will be competing for the top award of Best Feature.

It was a little shocking to see that the Sundance standout Beasts of the Southern Wild did not have quite as many nods but four is a healthy amount of nominations to receive. The film bypassed Best First Feature even though it is technically Benh Zeitlin’s first and step up to the bigger category Best Feature (rules prohibit a film from being in both). Beasts of the Southern Wild was ousted from the Best Screenplay category.

John Hawkes makes his third straight appearance in the nomination list with his role in The Sessions. This time he will move up to the Best Lead Male category against some pretty strong contenders. Hawkes was nominated for Best Supporting Male last year for Martha Marcy May Marlene and won the award in the previous year for Winter’s Bone. Matthew McConaughey will get two chances to win for two different films. He got a nod for Best Male Lead (for Killer Joe) and Best Supporting Male (for Magic Mike).

Perhaps the most interesting category this year belongs to the Best International Film section as there was quite a bit of potentials for it this year. Michael Haneke’s Amour made the cut, unsurprisingly, and will likely be the favorite to win (as well as for the Oscar). It was a bit of a surprise to not see Holy Motors in that list but seeing War Witch get a nod was lovely as it is definitely a film worth seeing. I didn’t expect to see Paradise: Love or Goodbye First Love on this list but it would have been if it were up to me.

Watch for our predictions for the 2013 Film Independent Spirit Awards post to come in the coming weeks.

Full List of 2013 Independent Spirit Award Nominations:

Beasts of the Southern Wild
Bernie
Keep The Lights On
Moonrise Kingdom
Silver Linings Playbook

Wes Anderson – Moonrise Kingdom
Julia Loktev – The Loneliest Planet
David O. Russell – Silver Linings Playbook
Ira Sachs – Keep The Lights On
Benh Zeitlin – Beasts of the Southern Wild

Fill The Void – Rama Burshtein
Gimme The Loot – Adam Leon
Safety Not Guaranteed – Colin Trevorrow
Sound of My Voice – Zal Batmanglij
The Perks Of Being A Wallflower – Stephen Chobsky

Jack Black – Bernie
Bradley Cooper – Silver Linings Playbook
John Hawkes – The Sessions
Thure Lindhart – Keep The Lights On
Matthew McConaughey – Killer Joe
Wendell Pierce – Four

Linda Cardellini – Return
Emayatzy Corinealdi – Middle of Nowhere
Jennifer Lawrence – Silver Linings Playbook
Quvenzhane Wallis – Beasts of the Southern Wild
Mary E. Winstead – Smashed

Matthew McConaughey – Magic Mike
David Oyelowo – Middle of Nowhere
Michael Pena – End of Watch
Sam Rockwell – Seven Psychopaths
Bruce Willis – Moonrise Kingdom

Rosemarie DeWitt – Your Sister’s Sister
Ann Dowd – Compliance
Helen Hunt – The Sessions
Brit Marling – Sound of My Voice
Lorraine Toussaint – Middle of Nowhere

Breakfast With Curtis – Laura Colella
Middle of Nowhere – Ava DuVernay
Mosquita y Mari – Aurora Guerrero
Starlet – Sean Baker
The Color Wheel – Alex Ross Perry

How To Survive A Plague – David France
Marina Abramovic: The Artist Is Present – Matthew Akers
The Central Park Five – Ken Burns, Sarah Burns, David McMahon
The Invisible War – Kirby Dick
The Waiting Room – Peter Nicks

Amour – Michael Haneke
Once Upon A Time In Anatolia – Nuri Bilge Ceylan
Rust and Bone – Jacques Audiard
Sister – Ursula Meier
War Witch – Kim Nguyen

Yoni Brook – Valley Of Saints
Lol Crawley – Here
Ben Richardson – Beasts of the Southern Wild
Roman Vasyanov – End of Watch
Robert Yeoman – Moonrise Kingdom

Wes Anderson and Roman Coppola – Moonrise Kingdom
Zoe Kazan – Ruby Sparks
Martin McDonagh – Seven Psychopaths
David O. Russell – Silver Linings Playbook
Ira Sachs and Mauricio Zacharias – Keep The Lights On

Rama Burshtein – Fill The Void
Derek Connolly – Safety Not Guaranteed
Christopher Ford – Robot & Frank
Jonathan Lisecki – Gayby
Rashida Jones and Will McCormack – Celeste and Jesse Forever

Starlet
Director: Sean Baker
Casting Director: Julia Kim
Ensemble Cast: Dree Hemingway, Besedka Johnson, Karren Karagulian, Stella Maeve, James Ranson

Alicia Van Couvering – Nobody Walks
Mynette Louie – Stones in the Sun
Derrick Tseng – Prince Avalanche

Lucien Castaing-Taylor and Verena Paravel – Leviathan
Peter Nicks – The Waiting Room
Jason Tippet and Elizabeth Mims – Only the Young

David Fenster – Pincus
Adam Leon – Gimme The Loot
Rebecca Thomas – Electrick Children

The Swiss entry into this year’s Foreign Language Film race at the Academy Awards, Sister could work almost as a companion piece to Jean-Pierre and Luc Dardenne’s masterful The Kid With A Bike. This one also centers itself on a small, stubborn and determined parentless young boy who strikes out on his own, gets into some criminal behavior and develops a surrogate mother/son relationship with a woman he meets by chance. Here, the boy is Simon and is played with remarkable maturity by Kacey Mottet Klein. Simon is well beyond his years, having to grow up quick in order to provide a living for himself and his sister, portrayed by Lea Seydoux. The two live near a ski resort, and every day Simon heads to the top of the slopes in order to steal equipment from those spending their vacation here so that he can profit from selling it off himself.

Directed by Ursula Meier, Sister has clear influences from the Dardenne brothers, particularly in its shooting style. The camera stays close on the characters almost at all times, often giving a documentary feel to its examination of the two of them and their relationship with one another. There’s a shaky subplot with a kitchen worker played by Martin Compston and a much better one with Gillian Anderson’s wealthy resort guest, but the primary focus of the picture remains on Simon and his relationship with his sister Louise.

The two have grown up with one another and spend their days trying to get by, but as Simon has grown more responsible and composed, sacrificing himself every day in order to provide, Louise is nothing but a burden — she relies on Simon for practically everything, spending most of her time with a bevy of men that she picks up and leaves with for days at a time. The co-dependent relationship between the two of them is further put to the test as Simon’s actions begin to receive unwarranted attention and he grows increasingly jealous of the attention that Louise gives to the other men in her life.

Klein’s performance matches his character in being far beyond his years, perhaps even eclipsing the brilliant work from the young Thomas Doret in that similarly told Dardenne picture, but the standout here has got to ultimately be Lea Seydoux. As a young woman struggling with the burdens of moral responsibility and a yearning desire to just be free and wild, there is always more working beneath her exterior than she lets on and when we finally begin to see her facade crack in the later stages, a character who started off quite unlikeable is quickly turned into one I felt great sympathy for.

There’s a whopper of a twist that I wasn’t expecting at all, but I felt it wasn’t utilized as well as it could have been; however, it does add a whole new level to Seydoux’s brilliant work here and makes you re-examine every stroke of her superb performance that came before it. Sister contains two physical fight scenes between Simon and Louise throughout the film, and in the contrast of them you can see the extensive rift that has grown between them over these events. At the beginning, they are playful and loving, rolling around on the floor while jokingly fighting each other for who can have the best sandwich that Simon stole. The later fight though, is violent and dirty, taking place in the filthy mud and featuring the two going at one other with an almost homicidal rage.

The relationship between the two characters at the center here is fascinatingly explored by Meier, but also impressive is the way that she inserts a subtext with the high/low nature of the setting. There’s a very distinct contrast between the clean, white and beautiful setting of the resort that Simon ascends to each morning and the bleak, muddy and ugly bottom of the hill he returns to every night. Not only does the opposing nature provide a look into the class distinction that Meier softly examines, but it also keys into the lost nature of these wandering figures, constantly striving for something more than the squalor they truly exist in. This all adds an impressive extra layer to Sister, while never becoming such a focus that it takes attention away from the true centerpiece which remains the study of this powerful relationship between a brother and sister.