The world of online streaming isn’t just limited to Netflix, Amazon and Hulu. There are many other great sites on the internet with great content, from new Hollywood hits to classics and underseen gems. With that in mind, the Now Streaming feature is expanding to highlight another great service. For those of you unfamiliar with Fandor, they are among the best resources for independent films. Their catalog includes many films in the Criterion Collection, a host of foreign films, shorts and festival favorites. One particularly great aspect of their site is the “Spotlight,” where they curate a group of films with thematic connection. This week, their spotlight is called “Beyond Bechdel,” featuring many great films about female relationships, including Starlet, Butter on the Latch, and In Bloom. Check out some new films available on Fandor and the other streaming regulars below!

Netflix

The Disappearance of Eleanor Rigby (Ned Benson, 2014)

Though it was a part of Way Too Indie’s most anticipated fall films of 2014, The Disappearance of Eleanor Rigby seemed to come and go quickly. Part of this may have been because of a release strategy that may have confused both theater owners and theater goers. The film, which stars Jessica Chastain and James McAvoy, was released as three different films – called Them, Her, and Him – which focused on different perspectives of a failed romance. Many may not have had a chance to see the more complete Him/Her in theaters which only played a shorter version of the two films combined called Them. Netflix has stepped up to the plate to release all three versions of the film to their streaming service, allowing you to check them all out, compare and contrast. This is another example of Netflix’s ability to offer multiple versions of a film – they previously released the director’s cut for The Act of Killing after the theatrical version had been added to streaming.

Other titles new to Netflix this week:
Amadeus (Milos Forman, 1984)
American Revolutionary: Grace Lee Boggs (Grace Lee, 2013)
The Green Prince (Nadav Schirman, 2014)
Mad Men (Season 7)
Pirates (Lee Seok-hoon, 2014)

Amazon Prime

Arbitrage (Nicholas Jarecki, 2012)

One of the most underrated films of 2012, Arbitrage is an awesome throwback thriller. Starring Richard Gere as a wealthy man whose backhanded deeds threaten to come to light after he’s involved in a fatal car accident. Directed by Nicholas Jarecki, brother of Andrew Jarecki, he brings the same level of complex perspectives as works like Capturing the Friedmans and The Jinx. At times throughout the film, your allegiance will shift—we know that Robert Miller is a bad guy, but we nearly want him to get away with it. One of the most entertaining portraits of the recent economic crash, Arbitrage is definitely worth a look.

Other titles new to Amazon Prime this week:
Cirque du Soleil: World’s Away (Andrew Adamson, 2012)
Detachment (Tony Kaye, 2011)
Max and Mary (Adam Elliot, 2009)
Nobody’s Fool (Robert Benton, 1994)
Rust and Bone (Jacques Audiard, 2012)

Fandor

Branded to Kill (Seijun Suzuki, 1967)

From Fandor’s partnership with the Criterion Collection comes Branded to Kill, an early release from the DVD and Blu-ray collection. This wild Japanese hit man film was a great influence on pulp filmmakers for years to come for its wild violence and unusual characters. Branded to Kill stars the legendary Joe Shishido as the number three hitman in Japan who botches a job and is forced to deal with a cascade of bizarre circumstances. Like many of Fandor’s releases, Branded to Kill is available for a limited time, expriing after Sunday, April 5.

Other titles new to Fandor this week:
52 Tuesdays (Sophie Hyde, 2013)
Chop Shop (Ramir Bahrani, 2007)
Gangs of Wasseypur (Anurag Kashyap, 2013)
The Marquise of O (Eric Rohmer, 1976)
The Romantics (Ryan Daniel Dobson, 2014)

Video On-Demand

Welcome to New York (Abel Ferrara, 2014)

Like The Disappearance of Eleanor Rigby, master indie filmmaker Abel Ferrara’s newest film release is under a bit of controversy. The film, which premiered at the 2014 Cannes Film Festival, is based on a real-life French sex scandal. After changes were made to secure an R-rating for U.S. distribution, Ferrara apparently did not approve, sending a cease and desist letter to IFC Films. I guess that didn’t work, as the film’s theatrical and VOD release still seem to be happening today—albeit the R-rated version in question. Welcome to New York stars iconic actors Gérard Depardieu and Jacqueline Bisset, and even Ferrara’s later work has been interesting, so hopefully this film will be worth more than its controversy.

Other titles new to VOD this week:
Into the Woods (Rob Marshall, 2014)
Kill Me Three Times (Kriv Stenders, 2014)
The Riot Club (Lone Scherfig, 2014)

Catch’Em While You Can, Expiring Soon

These Netflix titles will expire on April 1!
28 Hotel Rooms (Matt Ross, 2012)
The Cable Guy (Ben Stiller, 1996)
Clue (Jonathan Lynn, 1985)
Friday the 13th (Sean S. Cunningham, 1980)
Gentlemen Prefer Blondes (Howard Hawks, 1953)
Get Shorty (Barry Sonnenfeld, 1995)
Good Morning, Vietnam (Barry Levinson, 1987)
Jane Eyre (Cary Fukunaga, 2011)
Pee-wee’s Big Adventure (Tim Burton, 1985)
Shadow of the Vampire (E. Elias Merhige, 2000)

These Fandor titles will expire after Sunday, March 29!
Carnival in Flanders (Jacques Feyder, 1935)
Onibaba (Kaneto Shindo, 1964)
The Private Life of Henry VIII (Alexander Korda, 1933)
Seven Samurai (Akira Kurosawa, 1954)
Ugestsu (Kenji Mizoguchi, 1953)

Viewing an on-screen relationship from somewhere in the middle can be a difficult place to be in as a film viewer. Finding two characters in a juncture in their story when one’s had no time to form any sort of attachment yet, makes for the sort of film viewing that practically demands distance. The Disappearance of Eleanor Rigby most certainly asks that of its viewers. Asking for patience in abundance as it fills us in on the current, past, and potential future of a young New York couple. And to make sure the severity of their rift is felt, the film opens with a suicide attempt.

Eleanor Rigby (Jessica Chastain) has a name inspired less by the Beatles and more by missed opportunity and a sense of fate. After a brief scene of young love between her and boyfriend Conor (James McAvoy), she’s seen biking down the Brooklyn bridge. With a sense of calculation, she leaves her bike and heads for the fence.

In the hospital, Conor, her now husband, flies to her side, panicked. But when she’s healed and it’s time to leave, it’s her sister Kate (Jess Weixler) who takes her back to their childhood home to stay with their parents. Her French musician mother Mary (Isabelle Huppert) awaits her on the front steps, glass of wine in hand. Her father Julian (William Hurt), the academic and therapist, is especially concerned and encourages Eleanor to take some classes while she figures out her life.

Eleanor enrolls and when her father encourages her to crash Professor Friedman’s (Viola Davis) class, she does so with hardly any real argument why Professor Friedman should allow her to join the class, but an unlikely friendship is sparked between the two and Eleanor finds her to be an encouraging outsider. A safe friend unaware of Eleanor’s tragic recent past.

Meanwhile Conor does his best to find out how Eleanor is, since she’s thrown away her phone, resorting eventually to stalking her at the school. He passes her a note in her class one day and upsets her enough that she leaves class. Despite what little we know of their former selves before this juncture in their relationship, it’s clear Eleanor has changed greatly and it’s equally true Conor wants to return to what they once had. One of them stuck in the ambiguity of who they are, and who they are as part of a couple after a major life change, and the other stuck in the remembrance of how good things once were.

It’s easier to understand The Disappearance of Eleanor Rigby when one takes into account that it was originally two films. Him and Her. One focused on their relationship from Conor’s perspective, the other from Eleanor’s. At times throughout the film there seems to be much left unsaid, much that was most likely covered in the individual films that was cut to make Them work without being overwhelming.

But it’s exactly that hesitation that keeps The Disappearance of Eleanor Rigby from true greatness. In his feature directorial début (or should we call it third film?), Ned Benson has crafted a tale of two people completely unable to communicate. And though the inability to communicate with someone at a juncture where grief makes it entirely hard to relate is realistic, as an editing and filmmaking tool it makes for somewhat frustrating viewing.

The emergence of the so-called “anti-romance” is a sign of the times, of the burgeoning destruction of the Hollywood ending in favor of realism and relatable romantic scenarios. And while I appreciate this perspective and the way it resonates in our modern world, I can’t help but always wonder where the realistic side character is, the one yelling at the main characters to grow up and just have a normal conversation. Bill Hader‘s Stuart, Conor’s best friend and chef at his restaurant, comes close. Doing his best to explain to Conor the egg shells he has to walk on around his friend when it comes to his marriage. And Viola Davis is truly fantastic as Professor Friedman, but her wisdom and usefulness to Eleanor seems to stem entirely on her not actually knowing anything about Eleanor and her immediate life. She just seems to accidentally give Eleanor the friendship she needs at a time when she accidentally needs it.

Plenty of conversations with their family members would seem to be the ideal pathway to character growth, but strangely it’s these scenes that drag the most. Much of the time spent skirting around the obvious topics needing real study.

The audience is only clued in to Eleanor and Conor’s central concern rather late in the film, though it’s not hard to figure out they don’t suffer from simple relationship troubles. Strangely Benson chooses to show flashbacks from the couple’s early days, before they were married and in the blissful throes of young love, rather than scenes from their marriage. In a sense it brilliantly shows the same blind spot the main characters seems to possess, an idea of when things were new and good, juxtaposed with the present when they seem so bad, while showing an unawareness of when they were just in the middle, living out their love on a day by day basis.

With all that anti-romance, anti-Hollywood ending, the characters fall into an age-old trap, resorting to reinventing themselves, albeit by returning to former passions and plans they once had before their marriage and troubles. So although the film won’t allow us to call its ending “sad” per se, it certainly doesn’t warrant the descriptor of “realistic”. Though I’ll give kudos to Son Lux for the musical placement, toying quite effectively with our hearts in a few key areas with some well-placed songs in a way that gives the implication of romance without actually showing it.

Chastain and McAvoy give phenomenal performances, every other scene playing out like the clip played by the Academy before they announce who gets the Oscar. But without the structure the story needs, their performances simply hit the screen as heavy and ineffective, the lack of insight into their psyches making for a detached relationship with viewers.

The Disappearance of Eleanor Rigby has all the realism of watching a pair of friends go through a rough spot in their relationship, without any of the catharsis of being able to advise and yell at them as perhaps a good friend ought to.

With the Oscars looming on the horizon, it’s time for filmmakers, actors, and studios to bring out the big guns and fight to nab one of those wee golden fellows. For cinema-goers, the fall season is the best time of year: With the summer blockbuster melee out of the way, our focus is shifted to the foreign dramas, auteur showcases, and breakout performances that will populate theaters through to the winter. It’s time to get down to the nitty-gritty, and with so many excellent films to look forward to in the next few months, we’ve compiled our list of 20 must-see films of the fall. Some we’ve seen, and some we haven’t, but all in all, this fall season is shaping up to be one to remember.

20 Essential Fall Films

#20 – Force Majeure

Ruben Östlund made a splash at Cannes back in 2011 with Play, a controversial film based on real-life incidents of a group of children elaborately mugging other kids their age. This year, Östlund returned to Cannes with a different kind of film. A family vacationing at a ski resort in the Alps has a close call with an avalanche, and an impulsive fight-or-flight action by the father causes the family unit to break down. Like it or hate it, Play showed that Östlund has remarkable directorial skills, and the praise from Cannes only has us more excited for his follow-up. After a bow at TIFF, Magnolia will release Force Majeure in October. Keep your eyes on this one, as it’s been one of the more buzzed about foreign films this year. [C.J.]

#19 – Tusk

In 2011, when Kevin Smith released his last feature film, Red State, he announced (with his usual long-windedness) that he’d be retiring from film directing after completing one more film. Since then he seems to have calmed down. At Comic-Con Smith did his usual “Evening with Kevin Smith” where he spent a lot of time talking about the new Star Wars film, before revealing the first trailer for his upcoming film Tusk. Based on a conversation Smith had on his podcast discussing a craigslist ad a man posted offering a free place to live to someone willing to dress as a walrus while there, Smith’s always-buzzing brain of course ran free with the very dark way such a scenario could play out. And the trailer indicates the film is just as creepy, dark, and (because it’s Smith) funny as his imagination could make it. Starring Justin Long as a podcast host investigating a reclusive old mariner in Canada, and playing up Smith’s offbeat sense of humor in lieu of Red State’s politically-charged tension, it seems like Smith may finally have found his perfect style of horror. Release date is September 19th, just in time for some pre-Halloween fun. [Ananda]

#18 – The Two Faces of January

A throwback to ‘60s romance thrillers (and appropriately set in the ‘60s itself), Hossein Amini’s The Two Faces of January throws three excellent actors—Viggo Mortensen, Oscar Isaac, and Kirsten Dunst—into a dizzying, dangerous love triangle set in sun-drenched Greece. An adaptation of a Patricia Highsmith novel, the film is rife with deception, jealousy, and murder, a treat for those of us with a taste for such noir-ish goodies. The film has gotten some decent buzz on the festival circuit, though it’ll likelier to please retro lovers than the mainstream masses when it hits in early October. [Bernard]

#17 – The Theory of Everything

I’m pretty much a sucker for anything involving Stephen Hawking. While he is most known for his brilliant advancements in physics, The Theory of Everything appears to center more around his personal life. Before being diagnosed with a fatal illness at 21 years old, he fell in love with his first wife while studying at Cambridge. Dealing with this tragedy, the film aims to be both heartbreaking and inspirational. Based on the trailer and the award season release date of November 7th, it seems that Eddie Redmayne (who plays Hawking) could be in early contention for an Oscar nomination. We hope to catch its premiere at the Toronto International Film Festival, so stay tuned for our coverage. [Dustin]

#16 – The Interview

The Interview received a good amount of unexpected publicity thanks to North Korea’s decision to file a complaint with the United Nations over the movie’s plot; TV personality Dave Skylark (James Franco) and his producer Aaron Rapoport (Seth Rogen) become involved in a secret CIA plot to assassinate North Korean dictator Kim Jong-un (Randall Park). This film, the 2nd from Rogen & his writing partner Evan Goldberg as directors following This Is The End, finds the Pineapple Express duo partying hard, rescuing puppies and manning DPRK tanks. Despite Sony’s decision to digitally alter aspects of the movie and (supposed) cutting of a rumored “face melting” scene, reuniting Rogen with Franco in this premise seems absurdly promising. [Zach]

#15 – Listen Up Philip

Because Alex Ross Perry had already mesmerized us with his previous no-budget film The Color Wheel, his newest film Listen Up Philip has been on our radar since its announcement. Then overwhelmingly positive reviews flew in from its Sundance premiere. Combine all of this with the fact Jason Schwartzman and Elisabeth Moss star in the film and you’ve got our full attention. Schwartzman playing an arrogant novelist seems like a perfect role considering his character from HBO’s Bored to Death. Perry is quickly becoming an independent director to keep an eye on, so mark your calendars for when Listen Up Philip opens in theaters on October 17th—we already have. [Dustin]

#14 – The Skeleton Twins

If someone wanted to convince me to watch Craig Johnson’s The Skeleton Twins and began the sentence with “Bill Hader and Kristen Wiig play twins,” I will most likely tune out anything else after that. Deep down I know my mind would already be made up: there’s no way I’m not watching this movie. Hader and Wiig have both grown out of their SNL multi-personas and transitioned into film; Wiig has been the more successful of the two thanks to Bridesmaids, but Hader’s small charming role in The Disappearance Of Eleanor Rigby hints at his untapped dramatic talent. In any case, The Skeleton Twins looks like a perfect showcase for both actors to show they have what it takes to be both funny and serious. Unveiled at Sundance to very positive response (it’s currently 100% fresh on the Tomatometer) the story deals with the reconnection of twins Milo and Maggie after they both manage to cheat death on the same day. [Nik]

#13 – Big Hero 6

Over the past two decades, Pixar Studios has taken most of the shine away from Disney Animation, and rightfully so. Toy Story is coming up on 20-years-old. Think about that for a second. Disney has had its share of recent hits with Tangled and Frozen, but those are films that aren’t really catered to me. What about a super-hero film about a boy and his robot companion with flavors of Japanese anime? Yeah, that sounds pretty good to me. Big Hero 6 has a lot of potential as a unique entry in the overpopulated super-hero genre. It doesn’t hurt that Baymax looks to be an impossibly cute robot character, on the level of Wall-E and the Iron Giant. I don’t know if the film will be as good as those films, but if it can deliver on the fun premise, it has a chance to be one of the most satisfying films of the year. [Aaron]

#12 – The Overnighters

Earlier this year at Hot Docs I called The Overnighters “a roller coaster” that’s bound to be one of 2014’s best documentaries. My feelings haven’t changed since. Jesse Moss’ remarkable film follows a small town in North Dakota going through an oil boom. As people across the country flock to the town looking for work, a local pastor’s decision to let new arrivals sleep in his church (housing is next to impossible to find) triggers a surprising chain of events. With a narrative so cinematic the doc could easily be adapted into a drama, The Overnighters starts out riveting and never stops. Drafthouse will release the film on October 24th, and don’t be surprised if this one ends up becoming an Oscar nominee. [C.J.]

#11 – White Bird in a Blizzard

This novel adaptation looks to be a stylized coming-of-age story about a teenager (played by Shailene Woodley) whose mother (Eva Green) suddenly disappears one day. The early buzz from its Sundance premiere had people praising Woodley’s brave performance as she swears up a storm and spends a fair amount of time undressed. Perhaps her acting career is evolving from Young Adult hits like Divergent and The Fault in Our Stars to more serious and adult roles. Although Green doesn’t have as much screen time as Woodley because of her character’s mysterious disappearance, it’s been said she makes every minute count. White Bird in a Blizzard will be available on VOD September 25th and in theaters October 24th. [Dustin]

#10 – The Guest

Adam Wingard is proving to be one of the most formidable directors in modern horror, with 2013’s excellent You’re Next infusing the tried-and-true slasher genre with a quirky style that’s both primal and electro-cool. The Guest, his latest offering, again takes an old-school set-up and kicks it in the teeth, straight into the new millennium. Dan Stevens plays a soldier who visits the Peterson family, claiming to have been a close friend of their son, who was killed in action. The family invites him to stay, but as random acts of violence begin to pop up throughout town, young Anna (Maika Monroe) suspects they may stem from their mysterious visitor. I’ve just come from a press screening of the film as I write this, and let me tell you—The Guest is bloody freakin’ brilliant. Go see it when it’s released on September 17th. [Bernard]

#9 – Nightcrawler

Dan Gilroy’s debut feature as a director burst onto the scene with a trailer full of frantic energy. Led by what looks like a batshit performance from Jake Gyllenhaal, he continually reiterates the motto, “If you want to win the lottery, you have to make the money to buy a ticket.” The actor looks increasingly unhinged as freelance crime journalist Lou Bloom, pursuing cop cars and moving bodies to get the perfect crime scene shot before that chill-inducing shot where he screams while grasping at the bathroom mirror. The director, Gilroy, has written several films including Tarsem’s The Fall; however, worthy of note he is the brother of Tony Gilroy (also a producer on Nightcrawler), whose debut as a director (Michael Clayton) became one of the most compelling adult dramas of the last decade. Nightcrawler debuts at TIFF in September before its October 31st U.S. release. [Zach]

#8 – The Disappearance of Eleanor Rigby

Most years when I sit down and think about the best films of the year, there is usually one or two picks near the top of my list that are unquestionably flawed, but incredibly daring in its writing and structure — last year’s The Place Beyond the Pines, for example. I don’t know a lot about The Disappearance of Eleanor Rigby, but the thought of one film basically splitting into two different films from the differing perspectives of a failed relationship has me beyond intrigued. The studios recent decision to theatrically release the film in three different version (labelled Them, Him, and Her) has me wondering if this is going to be cinema gold or a complete train wreck, but it definitely has my attention. [Aaron]

#7 – Stray Dogs

I caught Ming-liang Tsai’s movie at last year’s TIFF, and was floored by its audacious nature and relentless control. It’s a very particular wheelhouse that Tsai’s movies play in, but if it happens to be yours then Stray Dogs will not disappoint. The central narrative storyline deals with a small impoverished family unity (a father and his two children,) as they move around the outskirts of Taipei and try to survive. Those familiar with Tsai’s won’t be surprised to hear about incredibly long takes of actors staring off into oblivion, or a slightly grotesque scene featuring cabbage, but Stray Dogs is nothing if not one of the year’s greatest examples of transcendental and deeply captivating works of cinematic art. The film is finally getting a theatrical release on September 12th courtesy of Cinema Guild. [Nik]

#6 – Foxcatcher

Capote and Moneyball director Bennett Miller returns with what many have described as his passion project, a film about the late John du Pont, whose attempt to support the US wrestling program in spite of declining mental health. The unlikely actor portraying du Pont is comedian Steve Carell in a part tailored for Oscars consideration, flanked by both Channing Tatum and Mark Ruffalo in strong roles. While the film was among our writer Nik’s Cannes disappointments this year, there are many touting not only the highly anticipated performances. After stops at TIFF and NYFF in September and October, Foxcatcher opens everywhere on November 14th. [Zach]

#5 – Dear White People

It’s about time a filmmaker set their sights on race in America, especially with people claiming the country is now living in a “post-racial” society. Justin Simien’s debut feature Dear White People is an ensemble following several black students at an Ivy League school, a premise Simien uses to open up a funny and probing insight into what race and identity means today. Back at the LA Film Festival, our writer Ananda said Dear White People is “sharply written” and “progressive and humorous”, and we can’t wait to see it once it comes out on October 17. [C.J.]

#4 – Whiplash

Whipping up a mighty buzz-storm at Sundance, Damien Chazelle’s drummer drama Whiplash stars Miles Teller as a young percussionist pushed to the breaking point by his vicious drum instructor, played by JK Simmons. Teller has been living up to expectations with each role he tackles, proving to be one of the most promising new faces in movies, and combined with Simmons’ veteran savvy, sparks should fly as their combative mentor-pupil story unfolds. Since Sundance in January, the excitement surrounding the film hasn’t fizzled in the slightest, a strong indicator that we’re in for a treat when it drops in October. [Bernard]

#3 – Interstellar

I’m partly tempted to explain Interstellar’s placement toward the top of our most anticipated Fall films list by simply stating “Because Chris Nolan” and “Because Matthew McConaughey”, but if you need qualifiers, I bet I can think of a few. For starters, the ambiguity surrounding the film for so long indicates (and it would be par for the course with Nolan) that Interstellar might be more than we yet know. The latest trailer gives us plenty to stew over. Dirt storms show a water shortage on Earth and Matthew McConaughey’s character, Cooper, is a father faced with the difficult decision of leaving his children to travel through a wormhole to find a new planet for humans to survive on. Along with fellow spacetraveler, Brand (Anne Hathaway), and a few others, Cooper and the small team travels through some gorgeously crafted foreign galaxies. Further motivation to see the film in IMAX. But knowing Nolan, who loves his late reveals and complicated relationships, we can almost guarantee that Interstellar will, ahem, take us further into space and story than we can even imagine. The film releases on Nov. 7th, which seems like forever. [Ananda]

#2 – Birdman

Despite some slight foreboding after watching the trailer for Birdman, Alejandro González Iñárritu’s new film is still one of my personal must-see films of the year, mainly for two reasons. Firstly, Iñárritu has yet to truly disappoint me (yes, I even liked Babel) and perhaps I’m even more inclined towards his new film because his last one, Biutiful, was so undeservedly neglected by many. Secondly, this is cinematographer Emmanuel Lubezki’s first post-Gravity project to see release and he’s a guy who knows how to make pretty pictures, plus there’s reports of more long take wizardry in Birdman. Add to that the ensemble cast of Emma Stone, Edward Norton, Zach Galifianakis and Naomi Watts all lead by a resurgent Michael Keaton, and there’s really no need to go any further. The film will open the Venice Film festival, play the New York Film Festival, and then unspool for the public on October 17th. [Nik]

#1 – Gone Girl

Top of the list is the latest from a perennial favorite, David Fincher. Not only is he master of the book to film adaptation, but he excels when working with crooked characters. And Gillian Flynn’s bestselling novel Gone Girl is a character-study in marital crookedness. In the film, Ben Affleck plays Nick Dunne, a man whose wife, Amy (Rosamund Pike), goes missing on their 5th wedding anniversary. When her disappearance goes public, Nick finds himself the primary suspect and the most hated man in the country, and as detectives uncover more around the case, Nick begins to question just how well he knew his own wife. I predict the sort of character mastery we’ve seen in House of Cards and Social Network combined with the nerve-fraying plot development of Se7en and The Girl with the Dragon Tattoo. Rumor has it the ending is slightly different than the book, co-written by Flynn and thus having her blessing, so even those of us familiar with the novel should be in for some new twists come October 3 when the film is released. It’s going to be a dark and twisty fall, and we can’t wait. [Ananda]

Cannes is over. Three words that are going to be sinking in for a while, while I try to regroup and accept that yes; the glorious, maddening, disorganized, exhilarating, and one-of-a-kind Cannes film festival is over. The Prozac to my depression is that it was an absolute blast, and an experience I wouldn’t exchange for anything. While I spend the next few days catching up on all my sleep and vitamins, the medley of scenes, moments of cinematic enormity, fits of laughter, and gasps of horror will be scooped up along with the bits and pieces of my blown mind, and shaped into a cherished memory. But in the meantime, therapy is in order and part of the 12-step program of recovery after coming back from a place like Cannes is making a Top 10 List. So here we are.

If you’ve followed my coverage, this list might not be very surprising but it’s still a good way to summarize why this was such a fantastic festival, and include some thoughts on the recently announced winners.

Honorable Mention – Whiplash

One of two Director’s Fortnights I managed to see was this Sundance hit, about a teenager’s unrelenting passion to become one of the world’s greatest drummers. With magnificent turns by Miles Teller and J.K. Simmons (the latter especially, who should be considered for Best Supporting Actor once we fast-forward seven months from now), and a well maintained adrenaline rush by focused directing and excellent editing, the only reason Whiplash isn’t in the Top 10 is because of it’s noticeably poor depiction of women and predictable emotional beats. Read my review.

#10 – Maps To The Stars

Julianne Moore may have stolen the Best Actress award from Marion Cotillard, but it’s wonderfully ironic that she did it with this role. Obviously, she’s fantastic in it and my review gushed over her. She’s a big reason David Cronenberg’s Maps To The Stars makes it on this list. Hollywood gets scrutinized in brutal fashion by the master of the absurd, and it ranks as one of my most entertaining and alive moments in a Cannes screening. Worthy of noting; this is the only screening I was unable to get into initially and had to schedule in for later, so it’s good to see that the popularity paid off.

#9 – Amour Fou

Jessica Hausner was a discovery for me, but thanks to Way Too Indie’s CJ for making sure she gets a place in the anticipation list because it enticed me enough to check out this wonderfully austere 19^th century tragic-comic look at love in all its silly desperation. After her third appearance in the Un Certain Regarde, Amour Fou really showcases Hausner’s talent and is one of those films which felt misplaced in its sidebar, fitting in main competition. A unique approach to love, and perfectly framed, Amour Fou should be getting distribution if it hasn’t already so hopefully people on this side of the pond will get a chance to laugh with and at all its awkwardness. Read my capsule review here.

#8 – The Disappearance of Eleanor Rigby: Them

Even though I was fortunate enough to see the much superior Him and Her versions of this heartrending love-story, Them is more than good enough to deserve a spot on this list. Without doubt the biggest “WTF are they thinking” award decision was giving the Camera D’Or to the directors of Party Girl and not Ned Benson, whose tireless years of work on this project pays off in spades with career-turning performances, assured direction, and a deeply felt story of love and loss. I’d still recommend the richer 3-hour version over this two-hour combined perspective, but if your time is that precious, you won’t go wrong with this version once it gets released. Read my capsule review here.

#7 – Mommy

Trepidation coursed through my veins during the awards ceremony because the buzz was so supportive for Xavier Dolan’s Mommy winning the Palme. Thankfully, and deservedly, Dolan shared the Jury Prize with Jean-Luc Godard and his video essay Goodbye To Language 3D. But it’s important to point out how deserving it is that Dolan walked away with something, because Mommy is a joyous experience full of sorrow, laughs, and vigorous humanity. Even the use of music, or Dolan’s knack to indulge with style, ended up being an asset rather than a flaw here. A truly impressive piece of work by a youngster whose talent is undeniable. Read the review here.

#6 – P’Tit Quinquin

The second Director’s Fortnight film I managed to see and it almost makes it into my Top 5. Bruno Dumont is a master filmmaker, there’s no denying that, and while he is known for putting you down (and kicking you a little while you’re down there) with P’Tit Quinquin he made the funniest film I’ve seen at Cannes. But it’s also one of the smartest, which is the major reason it’s appearing here. Bernard Provost gives an outstanding performance, and helps ease the 3 hour 20 minute running time. Another one CJ needs to be thanked for putting in our anticipation list, even though it’s made-for-TV make sure to seek out P’Tit Quinquin in all its cinemascope glory if you get the chance. Read my capsule review here.

#5 – Two Days, One Night

After the reaction the new Dardennes film got from its first screening, critics were declaring Palme. I wasn’t one of them however, because getting a record third Palme D’Or was always going to be a steep mountain to climb. Regardless, if they had won no one would have bat an eyelash because Two Days, One Night is Dardenne dominance at its most simplistic and vital. It lingers on long after the credits role thanks to the greatest closing lines of any film at the festival, and Marion Cotillard. Will she ever win a Cannes Best Actress? This is the third time her performance is praised to immeasurable heights, and she walks away empty-handed. I don’t like to take anything away from Julianne Moore, whom I adored in Maps, but this really did belong to Cotillard. Perhaps an Oscar will lick her wounds. Read the review here.

#4 – Mr. Turner

Mike Leigh is one of my favorite filmmakers working today. That’s just how it is, and Mr. Turner was one of my must-sees. The second film I saw at the festival and its wondrous cinematography, resonant performances, and an organic direction that plays right into my wheelhouse; Mr. Turner proves that Leigh can tackle the tricky genre of the biopic better than, well, anyone I’ve ever seen. Once you see Timothy Spall (who absolutely must be nominated for an Oscar or it’s all gone to shit) grunt, grumble, growl and gawk his way as J.M.W. Turner you’ll know how deserving that Best Actor win was. An absolute delight this film is, and one I can’t wait to relive again. Here’s my review.

#3 – Winter Sleep

And now we come to the three experiences and near-masterpieces. Winter Sleep is our brilliant, refined, introspective, and much deserved Palme D’Or winner. Nuri Bilge Ceylan is now one of the most celebrated filmmakers at Cannes; with two Grand Prix prizes, one Best Director, and now the Palme to his name. Predicted as possible winner before the festival even started, hated on by a few once it screened (including New York Times’ Manohla Dargis), Winter Sleep still managed to take most critics’ breath away and mine included (it also walked away with the FIPRESCI prize.) Thank God it appears to have done exactly that with Jane Campion, Willem Dafoe, Gael Garcia Bernal and the rest of the jury because Winter Sleep is exemplary cinema at its most dignified and sophisticated. A big hip hip hooray for this win. My review.

#2 – Leviathan

Battling it out with Winter Sleep in an almost tied position of second and third spot is Andrey Zvyagintsev’s artistic magnum opus Leviathan. Religion and politics get a scathing scrutiny in a Man vs. State tale, told through allegorical fashion of the biblical Job story. When it was announced that Leviathan won Best Screenplay, my heart skipped a beat, then slightly sank because I knew it meant chances of a Palme were slim to none. Neverthless, it goes back a winner and it’s been acquired by Sony Pictures Classic so a release date State-side is imminent. Everything just works in this film; from magnanimous Philip Glass, absorbing scenery, ridiculous eye for detail, and balletic camera movement; Leviathan is a work of art with a capital A. My capsule review is here.

#1 – Jauja

What in seven hells is Jauja? Where did it come from? How was it conceived? Where will it end up? These are the kinds of questions still circling in my mind as I try to wrap my self around this transcendental and illuminating experience. Screening in Un Certain Regarde, and playing around with a format that makes you wish you had every shot hanging on your wall, Lisandro Alonso’s Jauja walked away with the FIPRESCI prize so it’s nice to see others critics clicking with it. By far the most challenging film I’ll likely see all year, similar to how mind-boggling Carlos Reygadas’ Post Tenebras Lux must have felt when it screened in competition a few years ago, part of why I have it over giants like Leviathan and Winter Sleep is because its mystical powers fascinate me beyond words. Viggo Mortensen’s screen presence and his guitar-playing skills are in full effect here, but it’s all Alonso with the irreplaceable shot composition and philosophical depths showing why cinema is unlike any other art-form out there. Read my review here.

Closing Thoughts

My biggest regret was missing Jean-Luc Godard’s Jury Prize winning Goodbye To Language, but thanks to its warm reception chances of seeing it released are much bigger than before the festival started. Another big miss was Alice Rorwacher’s The Wonders, which ended up winning the Grand Prix, but from everything I read and heard, it’s not one I’ll be rushing to see. Unlike White God, It Follows, The Tribe, and Turist; all of which received either some kind of award or incredible word of mouth, and all of which I managed to unfortunately miss.

But that’s how the cookie crumbles with festivals; see some, miss some – it’s just impossible to see everything (but there’s a superpower I’d love to have.) The biggest disappointment was probably Assayas’ Clouds Of Sils Maria (review here) and not Ryan Gosling’s dog’s breakfast Lost River (reviewed here) because the former is an accomplished director and the latter is an actor playing the role of a director, poorly. Though if I could, I would replace Party Girl (capsule here) and The Blue Room (capsule here) with one of my regrets.

But even if I had to endure three Lost Rivers, there’d be absolutely nothing to complain about. The people, the films, the place, the atmosphere, and the joy of covering the world’s greatest festival; all combine for one unforgettable ride. I hope this will be the first of many Cannes film festivals for me, because there’s just simply nothing like it. Thanks to the films on this list, in some ways Cannes will never really be over for me. And now, the next step; sleeping for 48 hours straight.

The roller coaster Ned Benson has been experiencing with his first feature would make anyone’s head dizzy. Last year at TIFF, he premiered his film, The Disappearance Of Eleanor Rigby, as a check-this-out-and-let-me-know-what-you-think concept which people have since been calling a “work in progress”. It was still fresh out of the lab without a buyer in sight, and told a familiar story in a truly original way; a break-up of a relationship told from both the guy’s and the girl’s perspective. Him and Her. Then, after some months of deliberation, Benson re-cut his film and premiered it at this year’s Cannes Un Certain Regarde section as a two hour “Them” version.

The story centers around Jessica Chastain‘s Eleanor Rigby who, after we are introduced to her and her boyfriend Connor (James McAvoy) in a charming opening dine-and-dash date, attempts suicide and disappears from Connor’s life. She retreats back to her family to figure out how to move on, he feels lost and tries to put all his energy on saving his restaurant slash bar. The loss of a child is quickly established here, whereas it was something hidden in the original format. So many of the things I loved about the original version are still present; the performances from Chastain and McAvoy are fantastic, the rest of the stellar cast (including William Hurt, Cirian Hinds, Isabelle Hupert and Viola Davis) are still some of the best supporting ensemble I’ve seen in quite some time, the tone of the film helped by the sonorous soundtrack is still as delicate as it should be. Yet, I can’t help but feel a big chunk missing, as a lot of what happens in Them feels somewhat forced, rushed, or tacked on. In any case, the good news is that the roller coaster ride will end with all three versions being released in theaters. While Them is still a solid effort on its own legs, I would strongly urge you to watch the Him and Her versions instead.