Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
All the Beauty and the Bloodshed (Laura Poitras)
It is a fascinating thing to watch someone’s history of protest and addiction collide and conspire to hold a pharmaceutical company accountable and expose its parent family as reprehensible. Academy Award-winning filmmaker Laura Poitras profiles the renowned photographer and activist Nan Goldin and her fight through the AIDS and opioid crisis, but this is bigger than a biographical documentary. Through slideshows, interviews, and family videos, Poitras weaves a riveting, heartbreaking interconnected story of generational pain, its influence over the blurry boundaries between life and art. – Jake K-s.
Where to Stream: VOD
Close (Lukas Dhont)
Dhont’s sophomore feature offers no narrative or stylistic fireworks, but it captures feelings so fine and true they...
All the Beauty and the Bloodshed (Laura Poitras)
It is a fascinating thing to watch someone’s history of protest and addiction collide and conspire to hold a pharmaceutical company accountable and expose its parent family as reprehensible. Academy Award-winning filmmaker Laura Poitras profiles the renowned photographer and activist Nan Goldin and her fight through the AIDS and opioid crisis, but this is bigger than a biographical documentary. Through slideshows, interviews, and family videos, Poitras weaves a riveting, heartbreaking interconnected story of generational pain, its influence over the blurry boundaries between life and art. – Jake K-s.
Where to Stream: VOD
Close (Lukas Dhont)
Dhont’s sophomore feature offers no narrative or stylistic fireworks, but it captures feelings so fine and true they...
- 3/3/2023
- by Jordan Raup
- The Film Stage
Slowly but surely the earlier work of Claire Denis is getting restorations and re-releases, from Beau Travail to L’intrus to No Fear No Die. While we hope Friday Night and US Go Home are in the cards, next up is her 1988 debut Chocolat. Made soon after she worked under Jim Jarmusch and Wim Wenders, the semi-autobiographical feature is based on her childhood in colonial French Africa as the daughter of a civil servant. Set for a theatrical release starting February 24 from Janus Films, the new 4K digital restoration was supervised and approved by director Claire Denis, made by the laboratory Eclair Classics from the original feature negative. Ahead of the release, a new trailer has now arrived.
Check out the trailer and synopsis below.
France (Mireille Perrier) reminisces about her childhood in Cameroon as her father (François Cluzet) comes and goes on call, which leads to the strengthening of her...
Check out the trailer and synopsis below.
France (Mireille Perrier) reminisces about her childhood in Cameroon as her father (François Cluzet) comes and goes on call, which leads to the strengthening of her...
- 2/8/2023
- by Leonard Pearce
- The Film Stage
After last month kicked off with Sight and Sound unveiling of their once-in-a-decade greatest films of all-time poll, detailing the 100 films that made the cut that were led by Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, they’ve now unveiled the full critics’ top 250. While the discourse up until now has featured many wondering why certain directors were totally absent and why other films that previously made the top 100 were left out, more clarity has arrived with this update.
Check out some highlights we clocked below, the full list here, and return on March 2 when all ballots and comments will be unveiled.
The films closest to making the top 100 were Rio Bravo, The House Is Black, and Vagabond, which tied for #103. Four directors absent in the top 100––Terrence Malick, Paul Thomas Anderson, Hou Hsiao-hsien, and Jacques Demy––have two films each in the top 250: The Tree of Life...
Check out some highlights we clocked below, the full list here, and return on March 2 when all ballots and comments will be unveiled.
The films closest to making the top 100 were Rio Bravo, The House Is Black, and Vagabond, which tied for #103. Four directors absent in the top 100––Terrence Malick, Paul Thomas Anderson, Hou Hsiao-hsien, and Jacques Demy––have two films each in the top 250: The Tree of Life...
- 1/31/2023
- by Jordan Raup
- The Film Stage
Critics' Week has already begun celebrating its 50th anniversary by posting 50 video interviews with directors and actors who've seen their work debut in this section at Cannes. We're celebrating, too. In association with the 4+1 Film Festival, Mubi is presenting a retrospective of some of the greatest films first seen in Critics' Week over the past half-century. And even though the first 1000 views of each of the films will be free to you, the viewer, the rights holders will carry on receiving their duly earned revenue.
The retrospective encompasses over 100 titles in all, but please do keep in mind that rights issues can get complicated and not every film can be available in every country. That said, here's a quick overview of just some of the highlights:
Over in the Garage, a La Semaine Blogathon is already on the roll, starting with Kj Farrington's entry on Miranda July's Me and You and Everyone We Know,...
The retrospective encompasses over 100 titles in all, but please do keep in mind that rights issues can get complicated and not every film can be available in every country. That said, here's a quick overview of just some of the highlights:
Over in the Garage, a La Semaine Blogathon is already on the roll, starting with Kj Farrington's entry on Miranda July's Me and You and Everyone We Know,...
- 5/14/2011
- MUBI
The Constellation record label provides an intoxicating hint at its upcoming 5 disc boxset of music by Tindersticks (and, presumably, the solo work by Stuart A. Staples) for films by Claire Denis: Claire Denis Film Scores (1996-2009).
The score for Trouble Every Day (2001) is, in my humble opinion, the best film score of the 2000s; and the theme (by Staples) for L'intrus is up there as well. Sample some highlights provided by the label below; they make clear, if you weren't already familiar with the Denis-Tindersticks collabs, that the set, out April 26, is a must purchase.
For those lucky residents of London, Los Angeles, San Francisco and Paris, the Tindersticks will be performing their music for Denis's films live in April and May this year.
Thanks to Ray Pride for the heads-up on the Soundcloud preview.
The score for Trouble Every Day (2001) is, in my humble opinion, the best film score of the 2000s; and the theme (by Staples) for L'intrus is up there as well. Sample some highlights provided by the label below; they make clear, if you weren't already familiar with the Denis-Tindersticks collabs, that the set, out April 26, is a must purchase.
For those lucky residents of London, Los Angeles, San Francisco and Paris, the Tindersticks will be performing their music for Denis's films live in April and May this year.
Thanks to Ray Pride for the heads-up on the Soundcloud preview.
- 3/28/2011
- MUBI
Since her 1988 debut Chocolat, Claire Denis has established herself as one of France's most respected film directors, with a wide-ranging body of work and a taste for danger. Her latest film, White Material, which stars Isabelle Huppert, draws again upon her colonial African childhood, and its violence has sparked
controversy in the French press. Not that she cares…
One of the lingering charms of the Left Bank of Paris in the 21st century is that, although much of the area has long since surrendered to chain stores and fast-food joints, the streets between Boulevard Saint-Michel and rue Mouffetard are still dotted with fleapit cinemas with names such as L'Accattone, Studio Galande and Le Champo. On any given afternoon – to take a random sample from the programmes on offer in these places last week – you can take in Battleship Potemkin, a Buñuel retrospective, a lesser-known Fellini, or Nicholas Ray's Johnny Guitar...
controversy in the French press. Not that she cares…
One of the lingering charms of the Left Bank of Paris in the 21st century is that, although much of the area has long since surrendered to chain stores and fast-food joints, the streets between Boulevard Saint-Michel and rue Mouffetard are still dotted with fleapit cinemas with names such as L'Accattone, Studio Galande and Le Champo. On any given afternoon – to take a random sample from the programmes on offer in these places last week – you can take in Battleship Potemkin, a Buñuel retrospective, a lesser-known Fellini, or Nicholas Ray's Johnny Guitar...
- 7/3/2010
- by Andrew Hussey
- The Guardian - Film News
Just as most intelligent critics already said last year, the kind that know their Wong from their Bong and can find their Warhol with both hands, Claire Denis' "35 Shots of Rum" is a lovely, ruminative, impressionistic, elusive, sensitive beaut, rich in the director's signature brand of elliptical hodgepodge and brimming with the-state-of-us-now immediacy. The problem is, I'm not sure there's much to it.
What I'm coming up against is, I think, the gray zone in film criticism, between recognizing a film's intelligence and artfulness, and wanting it to correspond in some meaningful way with what we as individuals conceive to be substantial or original or resonant cinema. Every time you read a critic saying "it just doesn't work," or, equally, praising a film in evasive ways that don't fit with your idea of a good movie, then you're in the zone. Some filmmakers speak to our inner ear with a confidante's whisper,...
What I'm coming up against is, I think, the gray zone in film criticism, between recognizing a film's intelligence and artfulness, and wanting it to correspond in some meaningful way with what we as individuals conceive to be substantial or original or resonant cinema. Every time you read a critic saying "it just doesn't work," or, equally, praising a film in evasive ways that don't fit with your idea of a good movie, then you're in the zone. Some filmmakers speak to our inner ear with a confidante's whisper,...
- 4/20/2010
- by Michael Atkinson
- ifc.com
Last year it was Isabelle Huppert, the coffee plantation owner without a safety net in Claire Denis' drama White Material who was the head of the Cannes Jury, this year it is Denis who finds herself at the head of jury duty but in the parallel Un Certain Regard section, the same category where she once showed J'ai pas sommeil, back in 1994. - Last year it was Isabelle Huppert, the coffee plantation owner without a safety net in Claire Denis' drama White Material who was the head of the Cannes Jury, this year it is Denis who finds herself at the head of jury duty but in the parallel Un Certain Regard section, the same category where she once showed J'ai pas sommeil, back in 1994. I'm almost guaranteed to share a row seat with Denis, as last year I couldn't stop bumping into head...
- 4/7/2010
- IONCINEMA.com
Anyone who knows the Claire Denis' filmography would most certainly know the faces of Alex Descas and Gregoire Colin (featured in the pic above). Descas' work with Denis dates back to 1990's S'en fout la mort, and the facially gifted Colin might have had more to work with in Nénette et Boni (1996), Beau Travail (1999) and L'intrus (2004), but in the handful of scenes we do find him in for 35 Rhums, Colin makes his presence known by simply working with a character that doesn't have much of an elaborate back-story. In his fifth Claire Denis film, you could describe his subtle character as a mystery man and though at some point he does indeed get rid of a carcass – it's far from what one might think. Descas delicately plays a man headed into the unknown of retirement - in typical Denis fashion. - #7. 35 Shots of Rum Anyone who knows the Claire Denis...
- 1/5/2010
- IONCINEMA.com
Above: Henner Winckler's School Trip.
Compiling a top ten European films of the decade is a tricky business—what do we mean by "European", by "film", or even by "decade"? My personal run-down of the truly outstanding feature-length, made-for-tv, world-premiered after 1st January 2000 comes to eleven titles, an awkward number in any sphere except the football pitch. For what it's worth, my "first XI" of favourites, in alphabetical order, reads as follows:
Control (2007; Anton Corbijn; UK)
Dancer in the Dark (2000; Lars Von Trier; Denmark)
Dead Man's Shoes (2004; Shane Meadows; UK)
Gunnar Goes Comfortable (2003; Gunnar Hall Jensen; Norway)
The Intruder (L'Intrus; 2004; Claire Denis; France)
Last Resort (2000; Pawel Pawlikowski, UK)
René (2008, Helena Třeštíková, Czech Republic)
Satan (aka Sheitan; 2006; Kim Chapiron, France)
The State In Am In (Die innere Sicherheit; 2000; Christian Petzold; Germany)
United 93 (2006; Paul Greengrass; UK)
Volver (2006; Pedro Almodovar; Spain)
Many of the above will be familiar to most The...
Compiling a top ten European films of the decade is a tricky business—what do we mean by "European", by "film", or even by "decade"? My personal run-down of the truly outstanding feature-length, made-for-tv, world-premiered after 1st January 2000 comes to eleven titles, an awkward number in any sphere except the football pitch. For what it's worth, my "first XI" of favourites, in alphabetical order, reads as follows:
Control (2007; Anton Corbijn; UK)
Dancer in the Dark (2000; Lars Von Trier; Denmark)
Dead Man's Shoes (2004; Shane Meadows; UK)
Gunnar Goes Comfortable (2003; Gunnar Hall Jensen; Norway)
The Intruder (L'Intrus; 2004; Claire Denis; France)
Last Resort (2000; Pawel Pawlikowski, UK)
René (2008, Helena Třeštíková, Czech Republic)
Satan (aka Sheitan; 2006; Kim Chapiron, France)
The State In Am In (Die innere Sicherheit; 2000; Christian Petzold; Germany)
United 93 (2006; Paul Greengrass; UK)
Volver (2006; Pedro Almodovar; Spain)
Many of the above will be familiar to most The...
- 12/24/2009
- MUBI
400 Screens, 400 Blows is a weekly column that takes an in-depth look at the films playing below the radar, beneath the top ten, and on 400 screens or less.
The world's oldest film festival, the San Francisco International Film Festival, continues this week. Diving through the myriad of titles, I came up with a couple of winners, neither of which has a U.S. distributor as of this moment. I'll start with the latest from the infuriatingly brilliant French director Claire Denis. Following her baffling, free-flowing, poetic epic masterpiece L'Intrus (The Intruder), Denis returns with a relatively simpler, more narrative-based feature, 35 Shots of Rum, though without sacrificing any of her unique flow. The new film focuses on an all-black Paris community of friends, relations, former and current lovers and colleagues. Lionel (Alex Descas) is a train engineer and lives with his beautiful, grown daughter Jo (Mati Diop). They don't speak very often,...
The world's oldest film festival, the San Francisco International Film Festival, continues this week. Diving through the myriad of titles, I came up with a couple of winners, neither of which has a U.S. distributor as of this moment. I'll start with the latest from the infuriatingly brilliant French director Claire Denis. Following her baffling, free-flowing, poetic epic masterpiece L'Intrus (The Intruder), Denis returns with a relatively simpler, more narrative-based feature, 35 Shots of Rum, though without sacrificing any of her unique flow. The new film focuses on an all-black Paris community of friends, relations, former and current lovers and colleagues. Lionel (Alex Descas) is a train engineer and lives with his beautiful, grown daughter Jo (Mati Diop). They don't speak very often,...
- 5/2/2009
- by Jeffrey M. Anderson
- Cinematical
- Most of you are already aware that Claire Denis’ films are not a common currency in movie theatres. I think back to her body of work with films that I've admired but not always had affection in Chocolat, I Can't Think, Beau Travail, Trouble Every Day (featuring Vincent Gallo) and L'intrus - and I think half of these never found a distributor. The Cinema Guild are thinking along the lines of those who gave 35 Shots of Rum tons of critical praise and have snapped up the rights to the drama. Expect a Fall release. The film, about a father and daughter whose relationship is strained by the arrival of a handsome young man. Lionel, widowed, has raised his daughter Josephine on his own. Now their life together begins to resemble that of a couple. They look after each other as if time were endless. Currently in post with White Material,
- 4/16/2009
- IONCINEMA.com
VENICE -- The Intruder is a long and pretentious film that appears to be about a cold wealthy man reconsidering his selfish ways before and after a heart transplant. The film's tedious series of unstructured and disconnected sequences do not, however, make this entirely clear. It's a mystery but not one writer-director Clair Denis provides any encouragement to solve.
Filled with characters whose identity is not revealed doing things that appear to lead nowhere, the film will test the patience of audiences everywhere. Michel Subor plays what turns out to be the central character and we see him stare morbidly at a great number of people in various parts of the world and possibly murdering a couple of them. It's hard to say.
He appears to have sons all over the place and assorted women enter and leave his life as he travels from snowscapes to exotic cities and island beaches in search of we know not what.
So unhelpful is the film in providing information required for the barest exposition that it fails to provide the viewer with any chance of enjoyment or even the beginnings of comprehension as to what's going on.
Surrealism is one thing, but The Intruder appears so ill defined and random that it ends up looking simply inept.
Filled with characters whose identity is not revealed doing things that appear to lead nowhere, the film will test the patience of audiences everywhere. Michel Subor plays what turns out to be the central character and we see him stare morbidly at a great number of people in various parts of the world and possibly murdering a couple of them. It's hard to say.
He appears to have sons all over the place and assorted women enter and leave his life as he travels from snowscapes to exotic cities and island beaches in search of we know not what.
So unhelpful is the film in providing information required for the barest exposition that it fails to provide the viewer with any chance of enjoyment or even the beginnings of comprehension as to what's going on.
Surrealism is one thing, but The Intruder appears so ill defined and random that it ends up looking simply inept.
- 9/10/2004
- The Hollywood Reporter - Movie News
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