Shout! Factory, one of the best home video distributors of genre cinema operating today, had a little fun with the Halloween season and the #TBT concept yesterday by hosting an all-day streaming session called “The VHS Vault.” They took a few of their older properties and streamed them in a way to replicate the grainy VHS quality that suits many of these films—complete with tracking lines! This is basically the opposite approach to the recent news that Vudu has started to stream their films in 4k. If you missed out on VHS Vault day, don’t worry—you are still able to stream their films on demand at their website or on their Roku and Samsung apps. Available films include classics Sleepaway Camp, Night of the Demons, Day of the Dead, Class of 1984, Exterminators of the Year 3000 and Adjust Your Tracking. If you pitched your VCR and badass collection of horror films years ago (or if you are young enough to not know what a VCR even is), you have the bizarre opportunity to relive the complete VHS experience.

Netflix

Results (Andrew Bujalski, 2015)

Coming up through the ‘mumblecore’ film movement as a director and screenwriter, Andrew Bujalski made the leap to the higher-budgeted indie scene with Results. The film stars Guy Pearce and Cobie Smulders as gym trainer coworkers, but it has been veteran character actor Kevin Corrigan as their new wealthy client, that has been getting the most acclaim. One of the most talked about films at this year’s Sundance Film Festival, Results has been praised by some as an off-beat romantic comedy, injected with Bujalski’s low-fi sensibilities. For more on Results, check out our (mixed) take on the film here.

Other titles new to Netflix this week:
Ain’t Them Bodies Saints (David Lowery, 2013)
Back in Time (Jason Aron, 2015)
Hemlock Grove (Series, Season 3)
Hungry Hearts (Saverio Costanzo, 2014)
Unexpected (Kris Swanberg)

Fandor

The Umbrellas of Cherbourg (Jacques Demy, 1964)

One of the most lush musicals of all time, The Umbrellas of Cherbourg is a beautiful and heartbreaking romance of first loves Geneviève (Catherine Deneuve) and Guy (Nino Castelnuovo). When Guy is drafted into war, his young lover stays behind in their quiet French town, tending to her mother’s umbrella shop—all set to a musical opera. Deneuve, who was only 21 when the film released, is absolutely radiant, clearly a star-in-the-making. Jacques Demy, the master of French musical cinema, is at the top of his game with vibrant direction and lyrical screenplay. The Umbrellas of Cherbourg isn’t a typical musical, without big dance numbers or musical setpieces set apart from dialogue, but it is as emotionally satisfying and purely entertaining as any of the bigger films of the genre. As a part of their Criterion Picks, The Umbrellas of Cherbourg is only available until November 1.

Other titles new to Fandor this week:
Cruel Story of Youth (Nagisa Ôshima, 1960)
A Day in the Country (Jean Renoir, 1936)
Days of Youth (Yasujirô Ozu, 1929)
Summer Interlude (Ingmar Bergman, 1951)
Suzanne’s Career (Eric Rohmer, 1963)

MUBI

Computer Chess (Andrew Bujalski, 2013)

After watching Bujalski’s newest film on Netflix, you can go over to MUBI to see the highly acclaimed indie that preceded it. With an ultra-dry wit, the 1980s rendering of a computer chess convention is one of the most unconventional comedies of recent years (read our review). Its nerdy vibes and anti-social characters make for a nice comparison with HBO’s Silicon Valley, though much less broadly comedic and even more esoteric. Bujalski’s low-fi narrative construction suits the black-and-white presentation, nostalgic tech and shaggy characters perfectly. Computer Chess is available on MUBI until November 15.

Other titles new to MUBI this week:
Creature from the Black Lagoon (Jack Arnold, 1954)
Night of the Living Dead (George A. Romero, 1968)
Reality (Matteo Garrone, 2012)
The Strange Little Cat (Ramon Zürcher, 2013)
Sympathy for Lady Vengeance (Park Chan-wook, 2005)

Video On-Demand

Trainwreck (Judd Apatow)

Three weeks before it is available on DVD, Blu-ray and streaming rental, you are able to purchase a digital copy of Judd Apatow and Amy Schumer’s Trainwreck on Amazon and iTunes. A huge success at the box office (read our review), earning more than big-budget tentpoles Tomorrowland and Terminator Genisys, it was also Apatow’s biggest critical hit since Knocked Up. The filmmaker continues to be a bastion for finding young comedic voices and giving them a huge stage to work on—this time with stand-up and sketch comedian Schumer, who wrote the sole writing credit on the film (think about how rare that is for comedies these days). An irreverent look at modern romantic comedies, it might not be as successfully biting as more direct parodies, but it definitely shows a fresh voice. Also, turning in incredibly strong and funny cameos/supporting performances from LeBron James, John Cena and Marv Albert (among others) is quite the feat.

Other titles new to VOD this week:
Bone Tomahawk (S. Craig Zahler, 2015)
Jurassic World (Colin Trevorrow, 2015)
Meadowland (Reed Morano, 2015)
Testament of Youth (James Kent, 2014)
The Vatican Tapes (Mark Neveldine, 2015)

We’re back with another packed show as we welcome filmmaker Evgeny Afineefsky to talk about his documentary Winter On Fire. Bernard and Zach go over the standouts of the still-rolling 53rd New York Film Festival as well as talk about this past summer’s disappointing string of summer blockbusters. The boys also discuss actors whose movies they’ll watch no matter what and share their Indie Picks of the Week.

Topics

• Indie Picks of the Week (2:13)
• NYFF (6:46)
• Summer Blockbuster Rage (27:36)
• Actors We Follow (43:53)
• Evgeny Afineefsky (55:02)

WTI Articles Referenced in the Podcast

Carol NYFF Review
Microbe & Gasoline NYFF Review
The Walk Review

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)

There might be a debate about whether or not life starts at conception, but one thing that is tough to argue is that worry begins at the discovery of pregnancy. From the child’s prenatal health to its ongoing care after childbirth, there is an understandable fret that comes with being a new parent, and it all begins when the little plus sign appears on the home pregnancy test. As if keeping a baby healthy and safe in this world isn’t enough, that worry is compounded by economic factors. Raising a baby isn’t cheap, so earning money is critical. But mother/child bonding time isn’t unlimited either, so making time for the baby is critical as well. Two unique but parallel facets of impending parenthood drive the wonderful story in Unexpected.

Sam (Cobie Smulders) is a high school science teacher in the Chicago Public School System, but she knows her days teaching there are numbered; in an effort to save money, the city plans to shut down her work (along with several other schools). She isn’t worried. She has a happy home life with her live-in boyfriend John (Anders Holm), and a great lead on a dream job for which she is well qualified.

Jasmine (Gail Bean) is a senior in Sam’s science class, and she’s a child with the odds stacked against her. The minority student from the broken home has to do things harder and better than everyone else if she is going to stand a chance at landing a scholarship that will get her out of the city and into college.

When Sam and Jasmine each learn they are unexpectedly pregnant, their lives change course, intersect, and even run parallel as their common situation bonds them. Where those paths diverge and end, and how they both get to where they need to be with an uncertain future, will ultimately define them as individuals and as the unlikeliest of friends.

It’s easy (not right, but easy) to look at the poster for Unexpected—with a pregnant young black girl feeling the belly of a pregnant white woman—and jump to some conclusions about where the film might go with this unlikely duo. Early into the story, once the socioeconomic differences between the characters become clear, the conclusions dig their heels in. Then, something amazing happens. Instead of playing the obvious dichotomies for cheap laughs or overwrought drama, director Kris Swanberg (who co-wrote with Megan Mercier) presents a thoughtful and layered drama that, in an odd sense, is a coming-of-age story where the ages don’t matter.

The dichotomies are there, of course. There’s no hiding the differences in race, age, or tax bracket, and Swanberg knows this. She (rightfully) never makes a big deal of it. There is never a moment where someone overtly says, “Well look at how different we are.” This is the real shrewdness of the storytelling. Rather than waste time stating the obvious, Swanberg lets those major differences speak for themselves, and instead spends her time developing differences that are, simultaneously, cleverly subtle similarities.

Both conceptions were unplanned. Despite the film’s title, this is possibly the most subtle similarity that creates the most impactful difference. It’s also another one Swanberg doesn’t spell out, but upon consideration, when a professional white woman with a live-in boyfriend gets pregnant, it’s viewed differently than when a teenage black girl with a new boyfriend gets pregnant. Both women have mother issues. Sam’s (played by Elizabeth McGovern) is judgmental and controlling; Jasmine’s is absentee. Both women have challenges with the fathers of their children. Sam’s is a nice problem to have in that John wants her to be a stay-at-home mom, but the father of Jasmine’s baby can’t make the time to go to the ultrasound. The issues are the same, but wildly different at the same time.

Other areas of their respective lives are structured this way or, more impressively, develop this way over the course of the film. As all of this sneaky comparing and contrasting goes on, a special bond forms between Sam and Jasmine that is part teacher/student, part mother/daughter, part sisters and BFFs. Their relationship never feels contrived, and it’s thanks to the great performances and chemistry of the leads that it works so well.

Smulders, best known for playing Robin Scherbatsky on TV’s How I Met Your Mother and Agent Hill in several of the Marvel Cinematic Universe films, gives a wonderful performance as a woman whose fairly ordered life is thrown into utter chaos. Smulders nicely covers the range of hormonally charged emotions, and when she has a funny line to deliver, she delivers it perfectly. (There’s a line about the bananas at Trader Joe’s that slays.) She plays slightly overbearing—but all with the best intentions, of course—deftly. Gail Bean is the perfect complement to Smulders. There’s a battle between hope and despair raging inside Jasmine, and Bean knows how to convey that battle in proper measure at all times. Bean makes Jasmine the kid you want to root for. Their chemistry together is beautiful.

Unexpected might be a clever title for this film, as it’s something that not only describes the surprise pregnancies of its two lead characters but also the unpredictable path their friendship takes. That said, it also summarizes the warm drama, genuine humor, and textured depth of the film.

Now in its seventh year, BAMcinemaFest is once again kicking off the summer season with a wide variety of independent cinema from this year. While film fests happen throughout the year, there seems to be a flood of festivals in the winter/spring (Sundance, Berlin, SXSW, Cannes) and the fall (TIFF, Telluride, Venice, NYFF), leaving the summer season wide open for the most part. That’s what’s so nice about BAM; it acts as a nice bridge between the two major festival seasons, providing a nice selection of this year’s biggest highlights in independent cinema so far.

This year, the festival has gotten a hold of some big titles that we’ve all been eagerly anticipating since their premieres earlier this year. Opening the fest is James Ponsoldt’s The End of the Tour, with Alex Ross Perry’s Queen of Earth getting a Centerpiece slot and Sean Baker’s Tangerine closing the fest (keep reading to see our thoughts on two of these titles). But that’s only a small portion of the 35 films playing at BAM from this week until the end of June, and some of these films might be your only shot at catching them in theaters (but let’s hope they all get distribution of some sort!). The same goes for some of their excellent retrospective programming, which includes an outdoor screening of Richard Linklater’s Slacker and a 20th anniversary screening of Larry Clark’s Kids.

While we weren’t able to catch everything playing at BAMfest this year (we’ll see you soon enough, Queen of Earth and Krisha), we did get a chance to check out more than a few films that’ll be playing over the next two weeks. Read on to see our thoughts on what’s playing, and be sure to check out the full line-up and buy tickets over at the BAMcinemaFest website.

Call Me Lucky

For the first half of Call Me Lucky, Bobcat Goldthwait’s tribute to Boston comedy legend Barry Crimmins, it feels like a boilerplate documentary portrait. Complimented by talking head interviews with David Cross, Marc Maron, Steven Wright and Goldthwait himself, the documentary’s beginning details Crimmins’ roots as a rare liberal in his conservative upstate New York town to his status among the elite Boston comics and founder of the Stitches comedy club. Catalogued clips from Crimmins’ past shows a man whose timelessly hysterical satirical stand-up was far ahead of its time. Gradually, Call Me Lucky reveals its intentions to be significantly more altruistic, as it delves into a darker aspect to Barry Crimmins’ story. By the end, the film becomes a stunning look at a survivor’s story, and how a man changed his life to settle the demons of his past. This surprisingly emotional doc is not one to overlook. [Zach]

The End of the Tour

When iconic American author David Foster Wallace committed suicide in 2008, writer David Lipsky returned to the tape recorded interviews he conducted with Wallace for a planned 1996 Rolling Stone profile. Over the course of a few days at the end of Wallace’s book tour for Infinite Jest, the writers spent many long hours together in the snowy Midwest having a conversation that Lipsky would later describe as “the best one I ever had.” Indeed, their talks, as portrayed in The End of the Tour by Jesse Eisenberg (Lipsky) and Jason Segel (Wallace) are funny, poignant, and considered. Adapted from Lipsky’s 2010 book Although of Course You End Up Becoming Yourself, The End of the Tour continues writer/director James Ponsoldt’s (Smashed, The Spectacular Now) streak of empathetic, humanist stories that explore people struggling to cope with internal pains. This new film is like the best, most analytical late night sleepover talk. The rich, dialog-heavy The End of the Tour is completely engrossing, occasionally profound, and deeply moving. [Zach]

The Invitation

As far as horror films go, Karyn Kusama’s The Invitation is one of the best slow burns I’ve seen in years. Will (Logan Marshall-Green), still grieving after a tragic accident that destroyed his marriage 2 years ago, gets an invite out of nowhere from his ex-wife Eden (Tammy Blanchard) to join her and their old friends for a dinner party. Will hasn’t seen Eden or his friends since his marriage fell apart, but he goes with his girlfriend Kira (Emayatzy Corinealdi), hoping to reconnect and move on from the past.

From the moment Will arrives, things seem off to him, and as the night goes on he suspects that Eden and her new boyfriend David (Michiel Huisman) have something sinister in mind for him and the other guests. Kusama thankfully doesn’t make the central mystery about whether or not Will’s suspicions are valid (this is, after all, a horror movie). This is more about how and when things will go terribly wrong, and Kusama (along with cinematographer Bobby Shore) masterfully dangles the other shoe over viewers’ heads as they wait for it to drop. Every scene leading up to the exhilarating final act—which had me so involved I started yelling at the screen any time I disagreed with a character’s actions—is meticulously composed to increase the paranoia and dread exponentially with each passing moment. And once things finally take a turn for the worse, Kusama and Shore brilliantly betray their own form from the first hour, relying on frantic, handheld camera work and jagged cuts to amplify the tension. Their method works extremely well, and turns The Invitation into one of those rare delights where the payoff works just as well as the buildup. [C.J.]

Jason and Shirley

This low-budget biographical drama focuses on the day in 1966 when Oscar-winning filmmaker Shirley Clarke invited black gay hustler and drug addict Jason Holiday into her room at the Chelsea Hotel. She filmed Holiday for several consecutive hours as he told the story of his life, and the result was Clarke’s daring documentary Portrait of Jason, which was both hailed for its uncompromising look at many of the period’s most controversial social issues, and criticized for its exploitative nature. Jason and Shirley is a recreation of this day, and it consists primarily of intensely personal interview segments between actors Sarah Schulman and Jack Waters, who play the documentary filmmaker and her subject. The film’s brief 77 minute runtime is also intercut with short skit-like portions alternating between surreal depictions of Holiday’s fragile, drug-induced mental state and interactions with his friends of the time, including a heroin dealer and a fellow male prostitute. The intimate exchanges between Schulman and Waters come across as surprisingly genuine, which can be a difficult feat for biographical films. This one manages to transport its viewers into the past, and into the minds of its characters, rather smoothly, even though the more experimental aspects of the film, such as the insert skits, don’t work quite as well. In the end, Jason and Shirley is certainly worth spending just over an hour with; it’s the graphic nature of the content, rather than the quality of the filmmaking, that may frighten off some viewers. [Eli]

Nasty Baby

Nasty Baby is a bait-and-switch kind of movie, one that offers up a perfectly adequate story, only to pull the rug out from underneath audiences at some point in the third act with a dark tonal shift. Starring writer/director Sebastián Silva as a gay Brooklyn-based multimedia artist working on an exhibit of adults as babies, Silva’s Freddy gets extremely excited about the idea of becoming a father by artificially inseminating his friend Polly (Kristen Wiig); however, when Freddy’s sperm won’t take, he and Polly attempt to convince Freddy’s boyfriend Mo (Tunde Adebimpe) to become the donor. Freddy finds himself caught between Polly’s anxieties about her ticking internal clock, and Mo’s hesitation to launch himself into fatherhood. As it develops and introduces outside unsettling elements, Nasty Baby subtly builds the tension in its subplot until a climactic moment. Silva’s film serves as an intimate portrait of a group of characters that grow into family unit just in time to face an unthinkable challenge. [Zach]

Pervert Park

“Because of its subject matter, Pervert Park is a challenging watch, but one very much worth the effort. Over the course of the film’s lean 77-minute run time, the filmmakers find success in presenting their subjects as honestly as possible. They don’t ask for sympathy, but they do ask for consideration, and they earn it.” Read our full-length review of Pervert Park from Hot Docs earlier this year.

The Russian Woodpecker

If The Russian Woodpecker doesn’t turn out to be one of the most talked about documentaries of 2015, it will be a shame. Fortunately, the fact that it was awarded the Grand Jury Prize for World Cinema at this year’s Sundance Film Festival will likely help spread the word about this courageous and well-meaning work of nonfiction. The focus of the film is a man by the name of Fedor Alexandrovich who uncovers a terrifying theory regarding the potential true cause of Ukraine’s 1986 Chernobyl disaster. However, this is less a film about conspiracies, and more about how the notion of “conspiracies” can impact a person’s relationship with their friends, their family, their country and even themselves. Throughout the duration of its concise runtime, The Russian Woodpecker shifts from being a detailed history lesson to a political mystery to a character study of a man, his paranoia and his national pride. Crisp cinematography and sharp editing aside, this film is essential viewing for anyone interested in international politics or, as Alexandrovich himself would describe it, the ever-present ghost of the Soviet Union. [Eli]

Stinking Heaven

Taking place in 1990 and shot on Betacam video, Nathan Silver’s experimental Stinking Heaven feels like an ideal guide for showing off how improvisation can help and hurt a film. Silver’s film takes place at a New Jersey home, where married couple Jim (Keith Poulson) and Lucy (Deragh Campbell) host a group of people who, like them, are trying to overcome their battle with addiction. From the outset, the living situation is a fragile one, and with the arrival of a new member named Ann (Hannah Gross), the group dynamic turns into a toxic one.

Silver actually had his cast live together on set during the entire length of shooting, and let everything play out through improvisation. When this method works, Silver and his ensemble produce some remarkable results, giving the film a visceral energy that couldn’t be created through more conventional means. But for every sublime moment, there’s another that feels like watching an awkward actor’s workshop. It’s hard to shake the feeling that a lot of Stinking Heaven is a work in progress, as if we’re getting a glimpse into the cast beginning to explore their own characters. It’s an interesting combination of intensity (some scenes here can give Heaven Knows What a run for its money) and uncomfortable histrionics, one that works in fleeting glimpses, but it’s enough to see that Silver is working towards something special. [C.J.]

Tangerine

Filmmaker Sean Baker’s third feature Tangerine is a hilarious, raw glimpse into the lives of characters rarely depicted with a comparable level of complexity. This chaotic, colorful, vulgar adventure through the grimy streets of Hollywood follows two transgender prostitutes, Alexandra and Sin-dee (Mya Taylor and Kiki Rodriguez, respectively), as they spend their Christmas Eve tracking down Sin-dee’s cheating boyfriend and pimp, Chester (James Ransone). It’s the day after Sin-dee’s been released from jail, and as soon as Alexandra lets Chester’s infidelity slip while the two eat donuts, Sin-dee is out the door pounding the pavement in search of answers. Baker swiftly cuts from scene to scene keeping the pace of his film at a dizzying high. It’s a ridiculous amount of trashy, lurid fun to spend time in the company of these precisely drawn characters. Their sharp quips and flair for melodrama make Tangerine consistently entertaining. [Zach]

Uncle Kent 2

Remember Uncle Kent? No? That’s understandable, considering it was one of six films Joe Swanberg made back in 2011. The film was a funny, melancholy look at its title character (writer/animator Kent Osborne, playing himself) as he spends an awkward weekend with a woman he met on Chatroulette. Now, over 4 years later, Osborne wants to make a sequel, and in a meta opening sequence—directed by Swanberg, with directing duties for the rest of the film handled by Todd Rohal—Swanberg rejects Osborne’s pitch because he hates sequels. Swanberg does allow him to find someone else to make the sequel though, and in a matter of minutes the aspect ratio changes (from full-screen to widescreen) and Osborne starts jiggling his man boobs over the credits.

If you’re like me and find the idea of making a sequel to a barely seen micro-budget indie funny (a decision made even funnier by its recklessness, considering it guarantees almost no one will want to release it), Uncle Kent 2 is the film for you. The fact that this sequel owes little to the original means that Rohal and Osborne (who wrote the film) have carte blanche, and they make the most of it. Uncle Kent 2 continually makes one surreal and hilarious turn after another, starting with a weird visit to the doctor (Steve Little, who seems incapable of being unfunny) before involving Ray Kurzweil, Comic-Con, simulation theory and an apocalyptic scenario where people get datamoshed to death. It all amounts to a bunch of zany, frequently funny nonsense that will probably end up being the best sequel of this year (a specific honour befitting a film that’s all about specificity). Uncle Kent 2 is the sequel none of us knew we needed, and even though I can’t believe I’m saying this, I can’t wait for Uncle Kent 3. [C.J.]

Unexpected

After seeing the absolutely embarrassing treatment of Earl in Me and Earl and the Dying Girl—a stereotypical African-American character whose only purpose is to help the white, male protagonist become a better person—Kris Swanberg’s Unexpected feels like a breath of fresh air. The film opens with Samantha (Cobie Smulders), a Chicago high school teacher whose workplace is about to shut down, discovering she’s pregnant. It’s unplanned, but she decides to keep it, and soon finds out that Jasmine (Gail Bean), one of the best students in her class, is also expecting. Samantha decides to help Jasmine try to continue pursuing college applications, and the two strike up a bond.

It sounds like yet another mushy white saviour story that Sundance audiences eat up, but Swanberg and co-writer Megan Mercier have enough awareness to call out and avoid the pitfalls their story could fall into. Jasmine doesn’t turn out to be the poor, helpless student Samantha thinks she is, and Swanberg goes a long way to developing Jasmine into a fully-rounded character who really doesn’t need Samantha’s help. Smulders gives a fine performance (although it doesn’t match her excellent turn in Results from earlier this year), but the film’s MVP is Bean, who has an electric presence any time she’s on screen. Unexpected’s low-key nature might make it come across as slight, but it’s a surprisingly accomplished and slightly subversive take on a story that could have easily turned into something far worse. [C.J.]

A Woman Like Me

“Describing A Woman Like Me to an outsider gets a little complicated. When put as simply as possible its a documentary made by director Alex Sichel, who upon receiving the news that she has metastatic breast cancer decides to process this information by directing a film about a woman facing the same diagnosis with as much positivity as she can…while simultaneously documenting this process and her own treatment for what would become this documentary. It’s not quite a movie within a movie so much as it is two movies playing out side by side with behind-the-scenes footage playing at the same time as well. Confusing? Yes. Meta? Maybe. Moving? Absolutely.” Read our full-length review of A Woman Like Me from SXSW earlier this year.

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]

If you couldn’t keep up with film news this past weekend, we’re not going to blame you—that is, if you spent time with your mother, instead. Now that the long-distance phone calls and Sunday brunches are over, check out the indie film news that you probably missed. This weekend saw a lot of casting rumors and next projects for up-and-coming indie and genre filmmakers and comedians, as well as an opportunity to contribute to film history.

Indiegogo Campaign Created to Complete Orson Welles’ The Other Side of the Wind

On the celebrated 100th birthday of the great auteur Orson Welles, The Hollywood Reporter announced that there was some hope for his final, unfinished project The Other Side of the World. A group of producers, including Filip Jan Rymsza, Jens Koethner Kaul and Frank Marshall, have started a crowd-sourcing campaign to raise the funds in order to complete the film thought lost. Check out the Hollywood Reporter article for the amazing backstory on how this came together. If you wish to be a part of history and contribute toward the $2 million goal, see the Indiegogo page. Like all Indiegogo projects, there are a number of tiered incentives, ranging from copies of the finished film, exclusive posters, your own 35mm print and Welles’ personal journal – the last one will set you back 50k.

Vincenzo Natali to Adapt Stephen King and Joe Hill

Last week we included a news story that Vincenzo Natali’s Cube was set for a re-visioning. Well now we know the genre filmmaker’s own next project—an adaptation of Stephen King/Joe Hill collaboration In the Tall Grass. Screen Daily first announced the news. The novella, which first appeared in Esquire, is a stripped down horror tale about a brother and sister who react to a young boy’s cry for help deep within a Kansas field. Natali typically works from his own scripts, but small-set horror with larger, metaphysical elements are right up his alley.

Paul Feig to Produce Film Penned by Broad City Co-Stars

Paul Feig is suddenly one of the hottest directors in Hollywood—early reviews of his upcoming Spy have been overwhelmingly positive and he has the lady-version Ghostbusters on the horizon. And now The Hollywood Reporter first reports that he will team up with two of the hottest young comedians for their film breakout. Ilana Glazer and Abbi Jacobson, the duo behind the Comedy Central hit Broad City have sold an untitled script to 20th Century Fox, with Feig attached to produce. Not much else is known yet about the project, though it is not a Broad City feature and Glazer and Jacobson are not currently attached to star. We can only hope their first starring roles come soon, hopefully this is a step towards that.

Natalie Portman in Talks for Alex Garland’s Next Film

Alex Garland’s Ex Machina has performed well with both critics and audiences (a little more on that in a bit), making him a director to watch. His next project has already been announced as an adaptation of Jeff VanderMeer’s novel Annihilation, and now he may have a star attached. According to Variety, Natalie Portman is currently in talks for the leading role, with the likes of Julianne Moore and Tilda Swinton vying to co-star. Since Portman’s Oscar win, she’s appeared in a pair of Thor films and not much else. A turn in serious sci-fi with this pedigree behind it could be a welcome return to form.

Indie Box Office Update

While Avengers: Age of Ultron continued to dominate the box office this weekend, it was relatively quiet on the indie end. In its fifth weekend, Ex Machina expanded to 2,000 theaters and rebounded after a drop the weekend before, earning about $3.5 million. It now has raised a healthy $24 million worldwide. Far from the Madding Crowd expanded to 99 theaters in its second weekend, with a $7,687 average. The Apu Trilogy revival and profile doc I Am Big Bird both opened in one theater and subsequently had the two largest per screen averages aside from the Marvel juggernaut, with $16,000 and $10,000, respectively.

Trailer of the Week: Unexpected

Cobie Smulders and Anders Holm get the chance to lead a film in Unexpected, a dramatic comedy about the (unexpected) effects of an (unexpected) pregnancy. Samantha is a teacher at a Chicago inner-city high school who strikes up a friendship with one of her students in the same situation. Unexpected is directed by Kris Swanberg, the wife of noted indie filmmaker Joe Swanberg—a big jump in production level from her previous film Empire Builder, a very good film that made festival rounds in 2012 but was difficult to see. Thankfully, you’ll be able to see Unexpected when it comes to limited release on July 24. Check out the trailer below!

The folks over in Park City have just unveiled their lineup for the 2015 Sundance Film Festival, which kicks off the festival season every year in January. With 118 films announced in their lineup, and even more to come over the next couple weeks, there’s a lot of digging to do. Some of the notable standouts so far include: “mumblecore” pioneer Andrew Bujalski’s (Computer Chess) new film Results (starring Guy Pearce, Cobie Smulders and Giovanni Ribisi), Patrick Brice following up this year’s Creep with The Overnight (starring Adam Scott and Jason Schwartzman), Kris Swanberg‘s new film Unexpected, and Compliance director Craig Zobel‘s Z for Zachariah, all of which will compete in the U.S. Dramatic category of the festival. The festival continues to premiere some of the hottest indie titles every year, so check out the entire list below!

The 2015 Sundance Film Festival will take place from Jan 22 – Feb 1.

2015 Sundance Film Festival Lineup

U.S. Dramatic Competition

“Advantageous” (Director: Jennifer Phang, Screenwriters: Jacqueline Kim, Jennifer Phang) — In a near-future city where soaring opulence overshadows economic hardship, Gwen and her daughter, Jules, do all they can to hold on to their joy, despite the instability surfacing in their world. Cast: Jacqueline Kim, James Urbaniak, Freya Adams, Ken Jeong, Jennifer Ehle, Samantha Kim.

“The Bronze” (Director: Bryan Buckley, Screenwriters: Melissa Rauch, Winston Rauch) — In 2004, Hope Ann Greggory became an American hero after winning the bronze medal for the women’s gymnastics team. Today, she’s still living in her small hometown, washed-up and embittered. Stuck in the past, Hope must reassess her life when a promising young gymnast threatens her local celebrity status. Cast: Melissa Rauch, Gary Cole, Thomas Middleditch, Sebastian Stan, Haley Lu Richardson, Cecily Strong. (Day One)

“The D Train” (Directors and screenwriters: Jarrad Paul, Andrew Mogel) — With his 20th reunion looming, Dan can’t shake his high-school insecurities. In a misguided mission to prove he’s changed, Dan rekindles a friendship with the popular guy from his class and is left scrambling to protect more than just his reputation when a wild night takes an unexpected turn. Cast: Jack Black, James Marsden, Kathryn Hahn, Jeffrey Tambor, Mike White, Kyle Bornheimer. 

“The Diary of a Teenage Girl” (Director and screenwriter: Marielle Heller) — Minnie Goetze is a 15-year-old aspiring comic-book artist, coming of age in the haze of the 1970s in San Francisco. Insatiably curious about the world around her, Minnie is a pretty typical teenage girl. Oh, except that she’s sleeping with her mother’s boyfriend. Cast: Bel Powley, Alexander Skarsgard, Christopher Meloni, Kristen Wiig.

“Dope” (Director and screenwriter: Rick Famuyiwa) — Malcolm is carefully surviving life in a tough neighborhood in Los Angeles while juggling college applications, academic interviews, and the SAT. A chance invitation to an underground party leads him into an adventure that could allow him to go from being a geek, to being dope, to ultimately being himself. Cast: Shameik Moore, Tony Revolori, Kiersey Clemons, Blake Anderson, Zoe Kravitz, ASAP Rocky.

“I Smile Back” (Director: Adam Salky, Screenwriters: Amy Koppelman, Paige Dylan) — All is not right in suburbia. Laney Brooks, a wife and mother on the edge, has stopped taking her meds, substituting recreational drugs and the wrong men. With the destruction of her family looming, Laney makes a last, desperate attempt at redemption. Cast: Sarah Silverman, Josh Charles, Thomas Sadoski, Mia Barron, Terry Kinney, Chris Sarandon.

“Me and Earl and the Dying Girl” (Director: Alfonso Gomez-Rejon, Screenwriter: Jesse Andrews) — Greg is coasting through senior year of high school as anonymously as possible, avoiding social interactions like the plague while secretly making spirited, bizarre films with Earl, his only friend. But both his anonymity and friendship threaten to unravel when his mother forces him to befriend a classmate with leukemia. Cast: Thomas Mann, RJ Cyler, Olivia Cooke, Nick Offerman, Connie Britton, Molly Shannon.

“The Overnight” (Director and screenwriter: Patrick Brice) — Alex, Emily, and their son, RJ, are new to Los Angeles. A chance meeting at the park introduces them to the mysterious Kurt, Charlotte and Max. A family “playdate” becomes increasingly interesting as the night goes on. Cast: Adam Scott, Taylor Schilling, Jason Schwartzman, Judith Godreche.

“People, Places, Things” (Director and screenwriter: James C. Strouse) — Will Henry is a newly single graphic novelist balancing being a parent to his young twin daughters and teaching a classroom full of college students, all the while trying to navigate the rich complexities of new love and letting go of the woman who left him. Cast: Jemaine Clement, Regina Hall, Stephanie Allynne, Jessica Williams, Gia Gadsby, Aundrea Gadsby.

“Results” (Director and screenwriter: Andrew Bujalski) — Two mismatched personal trainers’ lives are upended by the actions of a new, wealthy client. Cast: Guy Pearce, Cobie Smulders, Kevin Corrigan, Giovanni Ribisi, Anthony Michael Hall, Brooklyn Decker.

“Songs My Brothers Taught Me” (Director and screenwriter: Chloe Zhao) — This complex portrait of modern-day life on the Pine Ridge Indian Reservation explores the bond between a brother and his younger sister, who find themselves on separate paths to rediscovering the meaning of home. Cast: John Reddy, Jashaun St. John, Irene Bedard, Taysha Fuller, Travis Lone Hill, Eleonore Hendricks.

“The Stanford Prison Experiment” (Director: Kyle Patrick Alvarez, Screenwriter: Tim Talbott)— This film is based on the actual events that took place in 1971 when Stanford professor Dr. Philip Zimbardo created what became one of the most shocking and famous social experiments of all time. Cast: Billy Crudup, Ezra Miller, Michael Angarano, Tye Sheridan, Johnny Simmons, Olivia Thirlby.

“Stockholm, Pennsylvania” (Director and screenwriter: Nikole Beckwith — A young woman is returned home to her biological parents after living with her abductor for 17 years. Cast: Saoirse Ronan, Cynthia Nixon, Jason Isaacs, David Warshofsky.

“Unexpected” (Director: Kris Swanberg, Screenwriters: Kris Swanberg, Megan Mercier) — When Samantha Abbott begins her final semester teaching science at a Chicago high school, she faces some unexpected news: She’s pregnant. Soon after, Samantha learns that one of her favorite students, Jasmine, has landed in a similar situation. “Unexpected” follows the two women as they embark on an unlikely friendship. Cast: Cobie Smulders, Anders Holm, Gail Bean, Elizabeth McGovern.

“The Witch” (U.S.-Canada) (Director and screenwriter: Robert Eggers) — New England in the 1630s: William and Katherine lead a devout Christian life with five children, homesteading on the edge of an impassable wilderness. When their newborn son vanishes and crops fail, the family turns on one another. Beyond their worst fears, a supernatural evil lurks in the nearby wood. Cast: Anya Taylor Joy, Ralph Ineson, Kate Dickie, Harvey Scrimshaw, Lucas Dawson, Ellie Grainger.

“Z for Zachariah” (Director: Craig Zobel, Screenwriter: Nissar Modi) — In a post-apocalyptic world, a young woman who believes she is the last human on Earth meets a dying scientist searching for survivors. Their relationship becomes tenuous when another survivor appears. As the two men compete for the woman’s affection, their primal urges begin to reveal their true nature. Cast: Chiwetel Ejiofor, Margot Robbie, Chris Pine.

U.S. Documentary Competition

“3 1/2 Minutes” (Director: Marc Silver) — On Nov. 23, 2012, unarmed 17-year-old Jordan Russell Davis was shot at a Jacksonville gas station by Michael David Dunn. “3½ Minutes” explores the aftermath of Jordan’s tragic death, the latent and often unseen effects of racism, and the contradictions of the American criminal justice system.

“Being Evel” (Director: Daniel Junge) — An unprecedented, candid portrait of American icon Robert “Evel” Knievel and his legacy.

“Best of Enemies” (Directors: Morgan Neville, Robert Gordon) — A behind-the-scenes account of the explosive 1968 televised debates between the liberal Gore Vidal and the conservative William F. Buckley Jr., and their rancorous disagreements about politics, God, and sex.

“Call Me Lucky” (Director: Bobcat Goldthwait) — Barry Crimmins was a volatile but brilliant bar comic who became an honored peace activist and influential political satirist. Famous comedians and others build a picture of a man who underwent an incredible transformation.

“Cartel Land” (Director: Matthew Heineman) — In this classic Western set in the 21st century, vigilantes on both sides of the border fight the vicious Mexican drug cartels. With unprecedented access, this character-driven film provokes deep questions about lawlessness, the breakdown of order, and whether citizens should fight violence with violence.

“City of Gold” (Director: Laura Gabbert) — Pulitzer Prize-winning critic Jonathan Gold casts his light upon a vibrant and growing cultural movement in which he plays the dual roles of high-low priest and culinary geographer of his beloved Los Angeles.

“Finders Keepers” (Directors: Bryan Carberry, Clay Tweel) — Recovering addict and amputee John Wood finds himself in a stranger-than-fiction battle to reclaim his mummified leg from Southern entrepreneur Shannon Whisnant, who found it in a grill he bought at an auction and believes it to therefore be his rightful property.

“Hot Girls Wanted” (Directors: Jill Bauer, Ronna Gradus) — A first-ever look at the realities inside the world of the amateur porn industry and the steady stream of 18- and 19-year-old girls entering into it.

“How to Dance in Ohio” (Director: Alexandra Shiva) — In Columbus, Ohio, a group of teenagers and young adults on the autism spectrum prepare for an iconic American rite of passage — a spring formal. They spend 12 weeks practicing their social skills at a local nightclub in preparation for the dance.

“Larry Kramer in Love and Anger” (Director: Jean Carlomusto) — Author, activist, and playwright Larry Kramer is one of the most important and controversial figures in contemporary gay America, a political firebrand who gave voice to the outrage and grief that inspired gay men and lesbians to fight for their lives. At 78, this complicated man still commands our attention.

“Meru” (Directors: Jimmy Chin, E. Chai Vasarhelyi) — Three elite mountain climbers sacrifice everything but their friendship as they struggle through heartbreaking loss and nature’s harshest elements to attempt the never-before-completed Shark’s Fin on Mount Meru, the most coveted first ascent in the dangerous game of Himalayan big wall climbing.

“Racing Extinction” (Director: Louie Psihoyos) — Academy Award winner Louie Psihoyos (“The Cove”) assembles a unique team to show the world never-before-seen images that expose issues surrounding endangered species and mass extinction.

“(T)error” (Directors: Lyric R. Cabral, David Felix Sutcliffe) — The first film to document oncamera a covert counterterrorism sting as it unfolds. Through the perspective of *******, a 63-year-old Black revolutionary turned FBI informant, viewers are given an unprecedented glimpse of the government’s counterterrorism tactics, and the murky justifications behind them.

“Welcome to Leith” (Directors: Michael Beach Nichols, Christopher K. Walker) — A white supremacist attempts to take over a small town in North Dakota.

“Western” (U.S.-Mexico) (Directors: Bill Ross, Turner Ross) — For generations, all that distinguished Eagle Pass, Texas, from Piedras Negras, Mexico, was the Rio Grande. But when darkness descends upon these harmonious border towns, a cowboy and lawman face a new reality that threatens their way of life. Western portrays timeless American figures in the grip of unforgiving change.

“The Wolfpack” (Director: Crystal Moselle) — Six bright teenage brothers have spent their entire lives locked away from society in a Manhattan housing project. All they know of the outside is gleaned from the movies they watch obsessively (and recreate meticulously). Yet as adolescence looms, they dream of escape, ever more urgently, into the beckoning world.

World Cinema Dramatic Competition

“Chlorine” (Italy) (Director: Lamberto Sanfelice, Screenwriters: Lamberto Sanfelice, Elisa Amoruso) — Jenny, 17, dreams of becoming a synchronized swimmer. Family events turn her life upside down and she is forced move to a remote area to look after her ill father and younger brother. It won’t be long before Jenny starts pursuing her dreams again. Cast: Sara Serraiocco, Ivan Franek, Giorgio Colangeli, Anatol Sassi, Piera Degli Esposti, Andrea Vergoni.

“Chorus” (Canada) (Director and screenwriter: Francois Delisle) ­— A separated couple meet again after 10 years when the body of their missing son is found. Amid the guilt of losing a loved one, they hesitantly move toward affirmation of life, acceptance of death, and even the possibility of reconciliation. Cast: Sebastien Ricard, Fanny Mallette, Pierre Curzi, Genevieve Bujold.

“Glassland” (Ireland) (Director and screenwriter: Gerard Barrett) — In a desperate attempt to reunite his broken family, a young taxi driver becomes entangled in the criminal underworld. Cast: Jack Reynor, Toni Collette, Will Poulter, Michael Smiley. (International premiere)

“Homesick” (Norway) (Director: Anne Sewitsky, Screenwriters: Ragnhild Tronvoll, Anne Sewitsky) — When Charlotte, 27, meets her brother Henrik, 35, for the first time, two people who don’t know what a normal family is begin an encounter without boundaries. How does sibling love manifest itself if you have never experienced it before? Cast: Ine Marie Wilmann, Simon J. Berger, Anneke von der Lippe, Silje Storstein, Oddgeir Thune, Kari Onstad.

“Ivy” (Turkey) (Director and screenwriter: Tolga Karacelik) — Sarmasik is sailing to Egypt when the ship’s owner goes bankrupt. The crew learns there is a lien on the ship, and key crew members must stay on board. Ivy is the story of these six men trapped on the ship for days. Cast: Nadir Sarıbacak, Ozgur Emre Yıldırım, Hakan Karsak, Kadir Cermik, Osman Alkaş, Seyithan Ozdemiroglu.

“Partisan” (Australia) (Director: Ariel Kleiman, Screenwriters: Ariel Kleiman, Sarah Cyngler)— Alexander is like any other kid: playful, curious and naive. He is also a trained assassin. Raised in a hidden paradise, Alexander has grown up seeing the world filtered through his father, Gregori. As Alexander begins to think for himself, creeping fears take shape, and Gregori’s idyllic world unravels. Cast: Vincent Cassel, Jeremy Chabriel, Florence Mezzara.

“Princess” (Israel) (Director and screenwriter: Tali Shalom Ezer) — While her mother is away from home, 12-year-old Adar’s role-playing games with her stepfather move into dangerous territory. Seeking an escape, Adar finds Alan, an ethereal boy that accompanies her on a dark journey between reality and fantasy. Cast: Keren Mor, Shira Haas, Ori Pfeffer, Adar Zohar Hanetz. (International premiere)

“The Second Mother” (Brazil) (Director and screenwriter: Anna Muylaert) — Having left her daughter, Jessica, to be raised by relatives in the north of Brazil, Val works as a loving nanny in São Paulo. When Jessica arrives for a visit 13 years later, she confronts her mother’s slave-like attitude and everyone in the house is affected by her unexpected behavior. Cast: Regina Case, Michel Joelsas, Camila Mardila, Karine Teles, Lourenço Mutarelli.

“Slow West” (New Zealand) (Director: John Maclean, Screenwriters: John Maclean, Michael Lesslie) — At the end of the 19th century, 16-year-old Jay Cavendish journeys across the American frontier in search of the woman he loves. He is joined by Silas, a mysterious traveler, and hotly pursued by an outlaw along the way. Cast: Michael Fassbender, Kodi Smit-McPhee, Rory McCann, Ben Mendelsohn, Brooke Williams, Caren Pistorius.

“Strangerland” (Australia-Ireland) (Director: Kim Farrant, Screenwriters: Fiona Seres, Michael Kinirons) — When Catherine and Matthew Parker’s two teenage kids disappear into the remote Australian desert, the couple’s relationship is pushed to the brink as they confront the mystery of their children’s fate. Cast: Nicole Kidman, Joseph Fiennes, Hugo Weaving, Lisa Flanagan, Meyne Wyatt, Maddison Brown.

“The Summer of Sangaile” (Lithuania-France-Holland) (Director and screenwriter: Alante Kavaite) — Seventeen-year-old Sangaile is fascinated by stunt planes. She meets a girl her age at the summer aeronautical show, nearby her parents’ lakeside villa. Sangaile allows Auste to discover her most intimate secret and in the process finds in her teenage love, the only person that truly encourages her to fly. Cast: Julija Steponaityte, Aiste Dirziute. (Day One film)

“Umrika” (India) (Director and screenwriter: Prashant Nair) — When a young village boy discovers that his brother, long believed to be in America, has actually gone missing, he begins to invent letters on his behalf to save their mother from heartbreak, all the while searching for him. Cast: Suraj Sharma, Tony Revolori, Smita Tambe, Adil Hussain, Rajesh Tailang, Prateik Babbar.

World Cinema Documentary Competition

“The Amina Profile” (Canada) (Director: Sophie Deraspe) — During the Arab revolution, a love story between two women — a Canadian and a Syrian American — turns into an international sociopolitical thriller spotlighting media excesses and the thin line between truth and falsehood on the Internet.

“Censored Voices” (Israel-Germany) (Director: Mor Loushy) — One week after the 1967 Six-Day War, renowned author Amos Oz and editor Avraham Shapira recorded intimate conversations with soldiers returning from the battlefield. The Israeli army censored the recordings, allowing only a fragment of the conversations to be published. “Censored Voices” reveals these recordings for the first time.

“The Chinese Mayor” (China) (Director: Hao Zhou) — Mayor Geng Yanbo is determined to transform the coal-mining center of Datong, in China’s Shanxi province, into a tourism haven showcasing clean energy. In order to achieve that, however, he has to relocate 500,000 residences to make way for the restoration of the ancient city.

“Chuck Norris vs. Communism” (U.K.-Romania-Germany) (Director: Ilinca Calugareanu) — In 1980s Romania, thousands of Western films smashed through the Iron Curtain, opening a window to the free world for those who dared to look. A black-market VHS racketeer and courageous female translator brought the magic of film to the masses and sowed the seeds of a revolution.

“Dark Horse” (U.K.) (Director: Louise Osmond) — Dark Horse is the inspirational true story of a group of friends from a workingman’s club who decide to take on the elite “sport of kings” and breed themselves a racehorse.

“Dreamcatcher” (U.K.) (Director: Kim Longinotto) — “Dreamcatcher” takes us into a hidden world seen through the eyes of one of its survivors, Brenda Myers-Powell. A former teenage prostitute, Brenda defied the odds to become a powerful advocate for change in her community. With warmth and humor, Brenda gives hope to those who have none.

“How to Change the World” (U.K.-Canada) (Director: Jerry Rothwell) — In 1971, a group of friends sails into a nuclear test zone, and their protest captures the world’s imagination. Using rare, archival footage that brings their extraordinary world to life, How to Change the World is the story of the pioneers who founded Greenpeace and defined the modern green movement. (Day One film)

“Listen to Me Marlon” (U.K.) (Director and screenwriter: Stevan Riley, Co-writer: Peter Ettedgui) — With exclusive access to previously unheard audio archives, this documentary charts Marlon Brando’s exceptional career and extraordinary life away from the stage and screen, fully exploring the complexities of the man by telling the story uniquely in his own voice.

“Pervert Park” (Sweden-Denmark) (Directors: Frida Barkfors, Lasse Barkfors) — “Pervert Park” follows the everyday lives of sex offenders in a Florida trailer park as they struggle to reintegrate into society, and try to understand who they are and how to break the cycle of sex crimes being committed. (International premiere)

“The Russian Woodpecker” (U.K.) (Director: Chad Gracia) — A Ukrainian victim of the Chernobyl nuclear disaster discovers a dark secret and must decide whether to risk his life by revealing it, amid growing clouds of revolution and war.

“Sembene!” (U.S.-Senegal) (Directors: Samba Gadjigo, Jason Silverman) — In 1952, Ousmane Sembene, a Senegalese dockworker and fifth-grade dropout, began dreaming an impossible dream: to become the storyteller for a new Africa. This true story celebrates how the “father of African cinema,” against enormous odds, fought a monumental, 50-year-long battle to give Africans a voice.

“The Visit” (Denmark-Austria-Ireland-Finland-Norway) (Director: Michael Madsen) — “This film documents an event that has never taken place … ” With unprecedented access to the United Nations’ Office for Outer Space Affairs, leading space scientists and space agencies, “The Visit” explores humans’ first encounter with alien intelligent life and thereby humanity itself. “Our scenario begins with the arrival. Your arrival.”

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“Bob and the Trees” (U.S.-France) (Director: Diego Ongaro, Screenwriters: Diego Ongaro, Courtney Maum, Sasha Statman-Weil) — Bob, a 50-year-old logger in rural Massachusetts with a soft spot for golf and gangsta rap, is struggling to make ends meet in a changed economy. When his beloved cow is wounded and a job goes awry, Bob begins to heed the instincts of his ever-darkening self. Cast: Bob Tarasuk, Matt Gallagher, Polly MacIntyre, Winthrop Barrett, Nathaniel Gregory. World Premiere

“Christmas, Again” (Director and screenwriter: Charles Poekel) — A heartbroken Christmas tree salesman returns to New York, hoping to put the past year behind him. He spends the season living in a trailer and working the night shift, until a mysterious woman and some colorful customers rescue him from self-destruction. Cast: Kentucker Audley, Hannah Gross, Jason Shelton, Oona Roche. (North American premiere)

“Cronies” (Director and screenwriter: Michael Larnell) — Twenty-two-year-old Louis doesn’t know whether his childhood friendship with Jack will last beyond today. Cast: George Sample III, Zurich Buckner, Brian Kowalski.

“Entertainment” (Director: Rick Alverson, Screenwriters: Rick Alverson, Gregg Turkington, Tim Heidecker) — En route to meeting with his estranged daughter, in an attempt to revive his dwindling career, a broken, aging comedian plays a string of dead-end shows in the Mojave Desert. Cast: Gregg Turkington, John C. Reilly, Tye Sheridan, Michael Cera, Amy Seimetz, Lotte Verbeek.

“H.” (U.S.-Argentina) (Directors and screenwriters: Rania Attieh, Daniel Garcia) — Two women, each named Helen, find their lives spinning out of control after a meteor allegedly explodes over their city of Troy, New York. Cast: Robin Bartlett, Rebecca Dayan, Will Janowitz, Julian Gamble, Roger Robinson.

“James White” (Director and screenwriter: Josh Mond) — A young New Yorker struggles to take control of his reckless, self-destructive behavior in the face of momentous family challenges. Cast: Chris Abbott, Cynthia Nixon, Scott Mescudi, Makenzie Leigh, David Call.

“Nasty Baby” (Director and screenwriter: Sebastian Silva) — A gay couple try to have a baby with the help of their best friend, Polly. The trio navigates the idea of creating life while confronted by unexpected harassment from a neighborhood man called The Bishop. As their clashes grow increasingly aggressive, odds are someone is getting hurt. Cast: Sebastian Silva, Tunde Adebimpe, Kristin Wiig, Reg E. Cathey, Mark Margolis, Denis O’Hare.

“The Strongest Man” (Director and screenwriter: Kenny Riches) — An anxiety-ridden Cuban man who fancies himself the strongest man in the world attempts to recover his most prized possession, a stolen bicycle. On his quest, he finds and loses much more. Cast: Robert Lorie, Paul Chamberlain, Ashly Burch, Patrick Fugit, Lisa Banes.

“Take Me to the River” (Director and screenwriter: Matt Sobel) — A naive California teen plans to remain above the fray at his Nebraskan family reunion, but a strange encounter places him at the center of a long-buried family secret. Cast: Logan Miller, Robin Weigert, Josh Hamilton, Richard Schiff, Ursula Parker, Azura Skye.

“Tangerine” (Director: Sean Baker, Screenwriters: Sean Baker, Chris Bergoch) — A working girl tears through Tinseltown on Christmas Eve searching for the pimp who broke her heart. Cast: Kitana Kiki Rodriguez, Mya Taylor, Karren Karagulian, Mickey O’Hagan, Alla Tumanyan, James Ransone.