(Welcome to The Streamer’s Guide, a new monthly feature recommending at-home viewing options from filmmakers with new movies arriving in theaters this month.)
If you’ve seen all the /Film coverage from Sundance and gotten eager to sample the year’s first crop of new movies, you’re in luck! A number of them are hitting theaters almost immediately following their Park City debuts (plus a few on Netflix, including Dee Rees’ supposed bust The Last Thing He Wanted), and that’s on top of what looks like a promising crop of new releases on the studio side of things. If you’re looking to prepare for February’s openings, or perhaps just preparing a double feature with one half at home, here are some viewing options for you.
(Of note: I was not able to include a film for February’s biggest release, Birds of Prey, because director Cathy Yan’s debut feature still does not have U.S. distribution. Dead Pigs somehow got enough attention to get her a gig directing a giant movie for DC Comics, yet no distributor wants to put her prior film out there over two years after it premiered at Sundance. Justice for Dead Pigs, Cathy Yan and female filmmakers of color!)
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Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: What better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising?
This week we go for the gold with Nick Kroll, try to become more of an adult, play that game that many people relegate to their basements, deal with the opioid crisis, and examine modern-day Chile.
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This review contains mild spoilers for Saint Frances.
Thirty-four-year-old Bridget (Kelly O’Sullivan) is figuring it out as she goes. She’s single, stuck in a dead-end job, and not quite sure what she wants to do with her life. After listening to a creep at a party blather on about all the things he’s achieved by the same age, Bridget decides to take life by the horns. But not before an awkward and incredibly relatable night with her now not-boyfriend, Jace (Max Lipchitz).
A series of quick events will result in two facts in Bridget’s life: she’s facing an unwanted pregnancy because a lot of sex-ed still fails to teach us that pulling out isn’t a viable method of birth control, and she’s about to take a new job as a nanny for a lesbian couple. What unfolds throughout the rest of Saint Frances is an exploration in just how inherently lonely being a woman can be, and how using our words with one another can actively help combat that loneliness.
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