Over the past few weeks, our Now Streaming features have been chronicling the rapidly blurred line between theatrical and streaming releases. The most high-profile example of this so far is Netflix’s upcoming release of Beasts of No Nation, directed by Cary Fukunaga and starring Idris Elba. The first trailer for the film dropped yesterday, along with news the film will open in 19 Landmark Theaters simultaneously with its global launch on the streaming service (via Deadline).

We’ve seen a lot of deals where a film would first open in theaters, perhaps with a shortened release schedule, before becoming available to stream. And of course many small films are available on VOD the same day (or even before) as theaters. To see a film with this kind of profile opening in theaters and a subscription service together, as opposed to a pay-per-view platform, is something else entirely. It will be very interesting to see how the film performs in both arenas and what potential ripples that may have on film distribution. For now, check out these new-to-streaming movies that have already made their theatrical run, as well as a hotly anticipated original series.

Netflix

Wet Hot American Summer: First Day of Camp (Season 1)

At long last, the prequel series of the cult comedy hits Netflix today, with all eight episodes of the first season available to stream. Creators David Wain and Michael Showalter were somehow able to get all of the film’s impressive (and now, in some cases, popular) cast back together, including Paul Rudd, Amy Poehler, Bradley Cooper, Elizabeth Banks, David Hyde Pierce, and newcomer Jason Schwartzman. The idea of revisiting Camp Firewood 14 years later as a prequel is wonderfully silly and ripe with possibilities of parody, potentially showcasing Wain and Showalter’s comedic strengths. We shall see if the lightning-in-the-bottle nature of Wet Hot American Summer, with its reputation growing over time, will be reignited or tarnished—in any case, it is an honorable experiment.

Other titles new to Netflix this week:
52 Tuesdays (Sophie Hyde, 2013)
Almost Mercy (Tom DeNucci, 2015)
Comet (Sam Esmail, 2014)
The Skeleton Twins (Craig Johnson, 2014)
The Wrecking Crew (Denny Tedesco, 2008)

Fandor

The Battle of Algiers (Gillo Pontecorvo, 1966)

This week, Fandor is taking a sharp look at one of cinema’s greatest years: 1966. Maybe the best of the bunch is the vital and vibrant The Battle of Algiers. The film captures the violent Algerian rebellion against the colonial French in a documentary style that puts the viewer right into the conflict. Using coarse black-and-white photography, statistical information, and a full-scope narrative give The Battle of Algiers its unique presentation and tone—more like an educational video than the war/action film that it could suit. That doesn’t make the film any less thrilling, though, especially since it is just as biting and politically relevant today as it was in 1966. With all of Fandor’s Criterion Picks, you only have a short time to catch it, so make sure you watch The Battle of Algiers and their other selections from 1966 before they expire on August 9.

Other titles new to Fandor this week:.
Closely Watched Trains (Jirí Menzel, 1966)
Daisies (Vera Chytilová, 1966)
Moonlighting (Jerzy Skolimowski, 1982)
Persona (Ingmar Bergman, 1966)
A Shock to the System (Jan Egleson, 1990)

MUBI

Too Much Johnson (Orson Welles, 1938)

I hadn’t realized that there was a Orson Welles film I never heard of, but then MUBI comes along with a 1938 short feature comedy from the great director. The oddly titled film involves a woman with two male lovers; when her husband discovers the other man, he goes on a wild chase to find him. The film had been thought lost until a print was discovered in an Italian warehouse in 2008—after a few years of restoration, it made it’s long-overdue premiere in 2013. This is a terrific example of what makes MUBI an excellent service, as they very personally curate their films, giving a spotlight to each one. This shows up in an eclectic group of films available at any given time, with many selections not easily accessed elsewhere.

Other titles new to MUBI this week:
Ashes (Apichatpong Weerasethakul, 2012)
I Am Secretly an Important Man (Peter Sillen, 2010)
The Marriage Circle (Ernst Lubitsch, 1924)
The Queen of Versailles (Lauren Greenfield, 2012)
To Be or Not to Be (Ernst Lubitsch, 1942)

Video On-Demand

White God (Kornél Mundruczó, 2014)

A “Must See Indie” now available on VOD with its release on DVD and Blu-ray, White God is a shocking mash-up of genres with a very intriguing premise. The film follows Hagen, a mixed-breed dog who is abandoned by his young owner’s father onto the streets of Budapest. So Hagen does what any dog would do: recruit an army of canine followers to rise against the humans. It is a strange twist on the hero’s tale and an immensely enjoyable one at that. Not only did the film win the Certain Regard prize at the 2014 Cannes Film Festival, but also the Palm Dog Award—and, no, I’m not making that up, that’s a real thing. In our review of the film, we said “White God is absolutely an insta-classic dog film, but it’s also superbly crafted genre cinema, and a canine fairytale that’s sure to sweep audiences off their feet.”

Other titles new to VOD this week:
Home (Tim Johnson, 2015)
A LEGO Brickumentary (Kief Davidson & Daniel Junge, 2014)
Unexpected (Kris Swanberg, 2015)
The Water Diviner (Russell Crowe, 2014)

When Lauren Greenfield set out to film the Siegel family for The Queen of Versailles, she probably had a different film in mind. Jackie Siegel is the 43 year old mother of 7 (with one “inherited” as she puts it) whose husband, David Siegel, owns the biggest timeshare company in the world. The documentary’s title comes from the name of the house David and Jackie are building. Inspired by Louis XIV’s palace in France, the 90 thousand square foot home would be the largest house in America. Jackie gleefully rattles off facts about Versailles: 30 bathrooms, 10 kitchens, a ballroom, a baseball field and an ice rink to name a few. Their current home, a mansion with garish paintings of the family among other absurd extravagances (one of Jackie’s old dogs is stuffed and placed in a glass case), already feels cramped for everyone at only 28 thousand square feet.

The documentary, which started filming in 2007, shows the Siegels when they appear to be on top. Westgate, the timeshare company David runs, is celebrating the opening of their newest building in Las Vegas and on its way to earning over a billion dollars for the year. Once the market crisis of 2008 hits things change dramatically. Westgate made most of its money by aggressively selling their timeshares to middle class customers who couldn’t afford what they were buying, and soon enough the company is crippled under a massive amount of debts. Versailles is put on the market despite construction being halfway done and the Siegels suddenly find themselves with financial limits.

It’s this turn of events that transforms The Queen of Versailles into a surprisingly empathetic look at Jackie Siegel as everything around her begins to crumble. Greenfield’s point throughout Versailles is to show how the 2008 crisis impacted everyone similarly, even if the scale of the Siegels troubles is dramatically different from the middle class Americans who suffered most of the damage. The Siegels, like many Americans, thought they had more money to spend when they were actually worth far less. Early on David explains that people will take out mortgages on his timeshares because they love to feel rich even if they aren’t. Of course he didn’t know that he was falling for the same pitch he was selling by feeling richer even if he was merely a millionaire instead of a billionaire.

Greenfield could have easily kept the mocking tone of the film’s extravagant first half when the Siegels began to suffer, but she decides to focus in on how the financial strain begins to affect the family. Jackie, still maintaining her optimism, tries to deal with her home turning into a mess (the housekeeping staff is reduced from almost 20 people to 4 nannies). David becomes more deplorable as he hides away in his cramped home office and lashes out at his family repeatedly. The documentary makes sure to keep its subjects at an arm’s length so they don’t earn any pity. Scenes like Jackie’s failed attempt to have a birthday dinner for her husband are hard to watch, but when Jackie admits that she only kept having children because maids could take care of them for her it serves as a reminder of how her family doesn’t deserve any sympathy.

The Queen of Versailles ends when the Siegels appear to be at their lowest point. David, sitting down for an interview, mostly begs the crew to wrap things up so he can get back to saving his company. In the film’s final scene, catching one of the family’s more candid moments, David fights with his family over all the lights being left on in the house. Jackie tries to talk with him, but he brushes her off while complaining about the electricity bill. While it may be a sign of how far the family’s status has fallen since the start of the film, it’s also the only moment that could be described as relatable.

The 2012 Sundance Film Festival winners have been announced by the juries tonight in Park City, Utah. Beasts of the Southern Wild picked up two wins for Grand Jury Prize Dramatic and cinematography. Fox Searchlight’s other acquisition, The Surrogate, also won two awards at the festival.

Full list of 2012 Sundance Film Festival winners:

Grand Jury Prize, Dramatic:
Beasts of the Southern Wild

Grand Jury Prize, Documentary:
The House I Live In

World Cinema Jury Prize, Dramatic:
Violeta Went To Heaven

World Cinema Jury Prize, Documentary:
The Law In These Parts

Dramatic Audience Award:
The Surrogate

Documentary Audience Award:
The Invisible War

World Cinema Dramatic Audience Award:
Valley of Saints

World Cinema Documentary Audience Award:
Searching For Sugar Man

The Best of NEXT Audience Award:
Sleepwalk With Me

Directing Award, Dramatic:
Ava DuVernay, Middle of Nowhere

Directing Award, Documentary:
Lauren Greenfield, The Queen of Versailles

World Cinema Directing Award, Dramatic:
Mads Matthiessen, Teddy Bear

World Cinema Directing Award, Documentary:
Emad Burnat and Guy Davidi, 5 Broken Cameras

Waldo Scott Screenwriting Award:
Safety Not Guaranteed

World Cinema Screenwriting Award:
Young & Wild

Documentary Editing Award:
Detropia

World Cinema Documentary Editing Award:
Indie Game: The Movie

Excellence in Cinematography Award, Dramatic:
Beasts of the Southern Wild

Excellence in Cinematography Award, Documentary:
Chasing Ice

World Cinema Cinematography Award, Dramatic:
My Brother The Devil

World Cinema Cinematography Award, Documentary:
Putin’s Kiss

Special Jury Prize: Dramatic (Acting):
The cast of The Surrogate

Special Jury Prize: Dramatic:
Jonathan Schwartz and Andrea Sperling for producing Smashed and Nobody Walks

Special Jury Prizes: Documentary:
Love Free or Die
Ai Weiwei: Never Sorry

World Cinema Special Jury Prize: Documentary
Searching For Sugar Man

World Cinema Special Jury Prize: Dramatic
Can

Alfred P. Sloan Prizes
Robot & Frank
Valley of Saints

Sundance/NHK International Filmmakers Award:
Jens Assur, Close Far Away

Short Film Audience Award:
The Debutante Hunters, directed by Maria White