streaming

“Well, the industry is over,” Martin Scorsese recently declared… In his final Keyframe column, Steve Dollar discovers unexpected encouragement in Valentyn Vasyanovych’s 2019 dystopian Ukrainian drama.

Keyframe digs into six essential highlights from Fandor’s 29-film package of festival favorites, drawn largely from this side of the millennium, including LIFE AND NOTHING MORE, RARE BEASTS and A FEAST OF MAN.

Tsukamoto’s RAGING BULL more or less, TOKYO FIST’s often surreal and disorienting saga brings a fraught romantic triangle to the boxing ring, where passions, regrets and revenge are played out as ferocious bloodsport. The lyric “Love will tear us apart, again” has never rung truer…

On the short list of movies made about movies that were never made, Henri-Georges Clouzot’s Inferno sits near the top. It’s a fascinating descent into the perilous rabbit hole of artistic madness, an object lesson in the dangers of an auteur gone wild. It’s not unique in this regard…

Not exactly the Four Musketeers, this goofy bunch reveals a surplus of issues, whether it’s the girlfriends they want to get back together with, a need to pull annoying pranks, or completely empty pockets. For the longest time, I simply marveled at the lip garnish flaunted by Mssrs. Crombey and Saint-Macary, and I wasn’t alone. The film, as one Letterboxd user enthused: “Beautifully captures what it was like to have a mustache in the 1970s.”

A besotted dream of a very clean tramp, THE LEGEND OF THE HOLY DRINKER is also a throwback to a particular kind of half-logy, umber-infused, myth-laden European arthouse cinema layered thick with obscure portents and kept aloft with lyrical fantasy interludes. It’s so old-fashioned that it’s practically new again.

Japanese cult filmmaker Teruo Ishii delights in slathering the frame with blood and guts—including a stomach-churning tattoo flaying—and surprises with moments of visual elegance and surreal poetry.

The 1986 documentary, now streaming on Fandor in their “No Wristband Required” collection, makes an easy introduction to jazz legend Sonny Rollins in his mid-50s, with concert performances in upstate New York and Japan, plus a conversation between filmmaker Robert Mugge, Rollins and his wife Lucille in Central Park.

Walking nearly non-stop through the “real-time” 90 minutes of A SINGLE GIRL (1995), Virginie Ledoyen was 19 when the movie was released, a year after she appeared as a rebellious, lovestruck teenager in Olivier Assayas’ COLD WATER. Streaming this month as a Curator’s Pick on Fandor, the film no longer feels like a gimmick, as it did to some critics at the time.