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.
Barrio Triste (Stillz)
At barely two years old, Harmony Korine’s “post-cinema” company EDGLRD is already branching out. After directing AGGRO DR1FT and Baby Invasion, Korine takes on a producer role for Barrio Triste, the feature debut of Colombian-American artist Stillz. It’s a good match of talents, given Stillz’s background as a music video director for artists like Bad Bunny and Rosalia, and while Barrio Triste takes a vibes-based approach à la Korine’s last two features it’s an entirely different beast. Exhilarating, tense, personal, and enigmatic, Barrio Triste is a compelling look at a lost generation in search of salvation, and among this year’s best first features. – C.J. P. (full review)
Where to Stream: VOD
Colony (Yeon Sang-ho)
Ten years ago, Train to Busan pitted passengers against zombies on high-speed rails. Driven by a canny script and propulsive editing, Yeon Sang-ho’s film became a worldwide hit. In Yeon’s latest, Colony, an experimental serum unleashes hordes of zombies into a downtown Seoul office complex. The difference this time is that they can communicate instantaneously, evolving in a sort of hive mentality. Helped by Jun Ji-hyun in her first screen role in over a decade, Colony was a box-office hit when it opened this May in South Korea. Along with The King’s Warden, Yeon’s movie helped resurrect Korean moviegoing after a long, fallow stretch. I spoke with Yeon and Jun at the New York Asian Film Festival for the North American premiere of Colony. Read the full interview. – Daniel E.
Where to Stream: VOD
Disclosure Day (Steven Spielberg)
Certain beliefs unite all of humanity. Take, for example, the idea that the extraordinary is possible. Or, even more, that the impossible is possible. Steven Spielberg isn’t shy about believing in extraterrestrial life, and he doesn’t think you should be either. He’s so sincere about this aloof-yet-sky-high-stakes concept that he’s returning to it again with a very simple profundity in tow: “Empathy is the core of animate existence–our evolutionary advantage.” And he intends to remind us of our capacity for such. – Luke H. (full review)
Where to Stream: Peacock
Late Fame (Kent Jones)
It is early into Kent Jones’ Late Fame when Ed Saxberger (Willem Dafoe) joins a coterie of twenty-something wannabe intellectuals for a drink in the Village. This is Saxberger’s scene––better yet, was. A one-time poet, he hasn’t written anything after his first and only book came out in the late 1970s, whereupon he retreated into anonymity, serving as a different man of letters at NYC’s post office for almost 40 years. But when a budding writer one-third his age shows up at his doorstep to beat the drum for his forgotten literary endeavor, Way Past Go, Ed doesn’t quite know how to react. “It’s as if the poems were written yesterday,” Meyers (Edmund Donovan) croons, before inviting the grizzled bard to a drink with his new fans (a token of “inspirationally motivated gratitude”). Ed hesitates; when he finally caves, Jones lingers on Dafoe’s face as the meeting with a rapt audience rekindles something in him. Call that a re-self-discovery: surrounded by a gaggle of youngsters who treat him with reverential respect, Ed is suddenly reminded of who he was, who he still is. Stunned by this epiphany, Dafoe smiles, and the film smiles with him. – Leonardo G. (full review)
Where to Stream: VOD
Oasis: Don’t Look Back in Anger (Will Lovelace and Dylan Southern)
Directed by Meet Me in the Bathroom documentarians Will Lovelace and Dylan Southern and written by Peaky Blinders creator Steven Knight, Don’t Look Back in Anger offers something quite unique in the music documentary genre: a literal backstage / rehearsal-room glimpse of a musical reunion. We’ve witnessed endings in films such as The Last Waltz and Let It Be. To see a band reunite—two brothers, no less—is a far different experience. There have certainly been other shocking musical reunions; the Eagles called their mid-90s tour “Hell Freezes Over” for a reason, while individuals as combative as the members of Guns N’ Roses, Simon and Garfunkel, and Fleetwood Mac have managed to reconnect for hefty paydays. Sometimes these reformations sputter out (see: Jane’s Addiction). And occasionally the result is literally a one-time deal, like Pink Floyd at Live 8 or Led Zeppelin’s 2007 London performance. – Christopher S. (full review)
Where to Stream: Disney+, Hulu
Teenage Sex and Death at Camp Miasma (Jane Schoenbrun)
Jane Schoenbrun’s I Saw the TV Glow follow-up Teenage Sex and Death at Camp Miasma is a wildly entertaining exploration of the slasher film, erotic pleasure, and everything in between. Led by Hannah Einbinder and Gillian Anderson, Rory O’Connor said in his Critic’s Pick review from Cannes, “Shot masterfully by their regular cinematographer Eric Yue (Alex G also makes a welcome return as composer), the movie-within-the-movie’s formative kill scene is so mesmerizing that you’ll welcome Schoenbrun’s decision to play it again and again––all the better to get a feel for how Kris’ obsessions have led them to the movie’s climax, and perhaps their own. Yue and Schoenbrun’s approaches also perfectly align when capturing actresses’ faces, often in achingly beautiful close-ups that only occasionally allow for a flicker of menace. ‘There’s a hole at the bottom of the lake,’ Billy explains to Kris in one of those moments, setting off a sequence that is quickly becoming Schoenbrun’s signature—that churning sense of movie spiraling a drain as it drags you down with it.”
Where to Stream: MUBI
Also New to Streaming
Hulu
Olmo
Kino Film Collection
Death Ship
Terror Train
MUBI
Bonjour Tristesse
Bunnylovr
The Quiet Earth
Rapture
Ring
Season of the Witch
Netflix
Animals
VOD
Onslaught
The post New to Streaming: Teenage Sex and Death at Camp Miasma, Late Fame, Barrio Triste, Colony & More first appeared on The Film Stage.
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