Finally, a streaming service for the film and TV geek in us all. While Sundance Now has been around for a few years, the latest collection of works released has put it into the upper echelon of indie streaming platforms.
With exclusive new titles, along with older classics, Sundance Now has proven itself to be a bastion for indie film. And with the growing ubiquity of high speed internet, it only seems natural that online viewership become the dominant form of absorbing film, television and media.
Beyond the giant players who have the majority of the audience, excellent smaller online platforms have come into the foray as well, with new kids on the block Seeso, Filmstruck and Epix coming to represent more esoteric tastes. Now with Sundance’s very own Sundance Now becoming part of the gang, it seems as though we are finally entering the epoch of easily accessible spectatorship. To help you overcome the anxiety of diving into an overwhelming collection of great indie films, the Knockturnal has hand-picked a select few to make your life easier.
Living in Oblivion (1995)
Making a movie can be the hardest task to complete in the world. Tom DiCillo can sure tell you in his timeless classic, Living in Oblivion, a semi-autobiographical film that explores the frustrations, upsets and emotions of a low-budget film set.
With a star-studded cast including Steve Buscemi, Catherine Keener and Peter Dinklage in his debut role, the dramedy has come to be a near-perfect representation of the outrageous studio-less world that indie filmmakers occupied. Couple the excellent direction with a tight script, it’s no wonder this gem was lauded at Sundance. No wonder it picked up the Waldo Salt Screenwriting Award at the esteemed festival.
Polytechnique (2009)
Fresh off his recent sci-fi blockbuster, Arrival, Denis Villeneuve’s quieter and more vicious Quebecois film is a definite must-see in the rapturing catalogue that we find on Sundance Now. Telling the story of the brutal misogynistic massacre that occurred at École Polytechnique in 1989 Montreal, the film captures the realistic cruelty, ruthlessness and horror of one of the darkest moments of Canadian history.
Differing from Gus Van Sant’s Palme d’Or winner Elephant—which Villeneuve’s film has often been compared to—the monochromatic veneer capitulates one to see the murders not only as a tragic loss of innocent life, but also as a disturbing work of elegance. Prepare yourself for a symphonic orchestration of death, one that leaves the viewer both dichotomously disturbed and artistically aroused.
Off the Rails (2016)
Every New Yorker—if they’re worth their salt—has grown up riding the screechy, loud, and rodent-infested public transportation system. Some see it as part of their everyday life, others a lifelong love affair. Darius McCollum falls into the latter category, having grown infamous of late for illegally assuming control of the many trains and buses that keep New Yorkers moving.
Coming exclusively to Sundance Now after having a successful festival run, the stranger-than-fiction tale is one that is as engrossing as McCollum’s obsession with trains and everything public transport. Check the film out on the streaming service when it launches December 8.
Uncle Kent 2 (2015)
Sequels are typically nothing more than a shadow of their former, original filmic selves. Little narrative or character development is added or expanded on, and the success of the first film—which is the main catalyst for a sequel—dictates the terms and direction of the subsequent films. They rehash the same jokes, the same characters, the same narrative and rarely add anything new or refreshing to the mix; in short—unoriginal.
But Uncle Kent 2 is original. It is creative and refreshing. It doesn’t revisit old tropes and tries to step away from some of the original’s mumblecore qualities of naturalism, both in performance and in dialogue. Save for the prologue, gone are the long shots and goal-bereft protagonist with troubling relationships. Todd Rohal (the director who takes over the helm from Joe Swanberg after the prologue) takes editing and narrative liberties once he is given the reins, creating a strange, peculiar and yet continuously charming film.
