Category: Now Playing

It’s one of the quickest turnarounds in recent memory for a Grand Jury Prize Winner, but Macon Blair’s aptly titled I Don’t Feel at Home in this World Anymore comes to Netflix in February. Led by a brilliantly bizarre turn from Melanie Lynskey, Blair’s idiosyncratic tale of a woman’s search for a sense of purpose after her home is burglarized is full of baffling reroutes – as well as being a true sign of the times, as is its immediate post-Festival digital release.Also opening this month, Jena Malone and Riley Keough navigate a muddled and fluctuating intimacy in Lovesong, director So Yong Kim’s wistful portrait of relationships, neglect, and the fluidity of love.

The self-proclaimed “non-breakup breakup story” Possibilia is an interactive experience that’s “set in the multiverse … whatever that means.” In a choose-your-own-adventure–like encounter, the viewer takes an active role in the story of a young couple as they contemplate breaking up.
Alex Karpovsky and Zoe Jarman star as Rick and Pollie, who, depending on the scenes you choose, are found either fighting on the front lawn to stay together or resignedly discussing the inevitable at the kitchen table.

This article was originally published following the premiere of “Tallulah” at the 2016 Sundance Film Festival.
The complexities of motherhood and its responsibilities are keenly examined in Tallulah, the debut feature from writer-director Sian Heder that offers a dazzling showcase for actors Elliot Page, Allison Janney, and Tammy Blanchard.
Page and Janney are reunited nine years after starring in Jason Reitman’s Juno, but the similarities to that hit comedy end there.

Pale, flaccid, and remarkably lifelike, a dummy resembling a
famed actor lounged on a colorful chair on a Hollywood hotel’s rooftop during a
hot summer afternoon. This replica of a dead Daniel Radcliffe, or more
specifically Manny, the character he plays, has been on the road with directors
Dan Kwan and Daniel Scheinert as they promote their debut feature Swiss Army Man, which is almost
unequivocally the most original film to be released on U.S.

You’d think that a film called Tickled would offer a light, escapist, mirthful time at the theater. But while this World Documentary Competition feature is often very funny, and starts off as an uproarious investigation into an obscure and frankly amusing fetish, it quickly veers into very darker territory. Provoked by insulting and homophobic responses to requests for an interview, New Zealand directors David Farrier and Dylan Reeve press deeper into a surprisingly disturbing subculture, led by several shady organizations perhaps run by the same mysterious person.

When director Will Allen’s name was omitted from the Sundance Film Festival Competition announcement last November, plenty of conjecture surrounded his film Holy Hell and its sensitive subject matter. The riveting documentary sheds light on the inner workings of a mysterious spiritual community called Buddhafield, in which more than 100 young people lived a utopian existence under the grip of an enigmatic leader.
The non-fiction film is the first feature from director Will Allen, and while numerous other documentaries and narrative films have explored similar subject matter, Holy Hell offers a unique perspective.

People, places, and stories aren’t always what you expect them to be in Pervert Park, a moving and bravely humane documentary about a self-contained community of sex offenders in St. Petersburg, Florida. As Swedish director Frida Barkfors and her Danish husband Lasse Barkfors said at the film’s premiere at the 2015 Sundance Film Festival, they were also surprised by what they found in the park.

Whit Stillman’s elegant, witty Love & Friendship, based on Lady Susan, an unpublished novella by Jane Austen, opens this Friday after premiering in the Premieres section of the 2016 Sundance Film Festival. Unsurprisingly, the pairing of Stillman, known for his sophisticated comedies of social mores, and Austen, beloved for her 19th-century romantic fiction, proved to be as well-made a match as any that might appear in the works of the English author. Before the film’s premiere, Stillman, who made his Sundance debut in 1990 with Metropolitan, even joked to the audience that his films “have often been accused of being set in Georgian times.

At this year’s Sundance
Film Festival, Belgian director Felix van Groeningen revealed the personal
connection behind the brotherly descent into sex, drugs, and rock n’ roll that
is Belgica. “It’s inspired
by a real bar, which my father started in 1989 and was sold to two brothers in
2000,” he said during the post-screening Q&A. Yet it’s the story of these
brothers, rather than of Van Groeningen’s father, that motivates the film.

Rania Attieh and Daniel Garcia’s H. marks one of the most enigmatic Sundance selections in recent years and is set to make its theatrical release in April. Detailing a series of inexplicable events following a meteor strike in upstate New York, H.

With Take Me to the River, director Matt Sobel delivers not only an atypical take on the coming-of-age story, but one of the most original movies to have premiered at the 2015 Sundance Film Festival. Sobel’s button-pushing mindfuck about adolescent sexuality and family secrets is a tenacious and taut drama that veers between comedy, drama, and thriller – sometimes within the same scene. It’s not an easily accessible film, but as described by programmer David Courier at the 2015 Sundance premiere, it’s the kind that defines what the NEXT section of the Festival is about.

Yorgos Lanthimos’ relentless trademark absurdism is at its best and most pointed in The Lobster, the Colin Farrell-led drama that sees its protagonist defect from a matchmaking hotel where he has 45 days to find a partner or be transformed into an animal of his choice. The Lobster operates on any number of frequencies, from its acute sense of pacing to its dreary, nearly monochromatic visual aesthetic, Lanthimos’ writing and direction pull the viewer in varying directions while chopping at the cultural underpinnings of modern love – or worse, what it could become. The film finally makes its commercial theatrical run next Friday after premiering at last year’s Cannes Film Festival.