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.
Essential documents of what now seems almost a fantastical time and place—San Francisco from the late 1960s into the early ’80s—THE COCKETTES (2002) and WE WERE HERE (2011) respectively tell the stories of the outrageous glitter-bombed, gender-bent performance troupe and a heroic response to the harrowing impact of the AIDS epidemic on a blindsided populace. Keyframe catches up with filmmaker David Weissman.
Not quite Steve Buscemi’s big-screen debut—that honor goes to Eric Mitchell’s no-wave landmark The Way It Is (1985), alongside fellow first-timer Vincent Gallo and his stage comedy partner Mark Boone Jr.—Bill Sherwood’s Parting Glances (1986) is a “Curator’s Pick” and essential Pride Month viewing on Fandor. It’s the film that first got the world beyond NYC’s East Village to notice the firefighter-turned-actor.
Premiering at Cannes 20 years ago this month, at a time when Kurosawa was still hotly associated with horror, Bright Future (available to watch free this month on Fandor!) flirts with genre elements and an ambient, shadowy tone of vaguely defined anxiety, but with an often-deadpan vibe that aligns it with slacker comedies.
After a decade of working his way up through the indie film ranks, writer-director-producer Theodore Schaefer at last sees the debut of his highly distinctive …
Mother’s Day is Sunday, which on Fandor means it’s a fine time to call home (cinematically speaking) and check in on Mom. This month’s 25-film “Mother!” collection honors the tradition even as it explores maternity in a myriad of sometimes unexpected or surprising guises. Here are six highlights to help you celebrate in unconventional style.
Rogue artist, raconteur and cocktail roboticist Johannes Grenzfurthner is a Viennese Renaissance man whose obsessively detailed and cleverly unhinged films infiltrated some of North America’s more fun-oriented film festivals during the pandemic. His latest, RAZZENNEST, is now streaming exclusively on Fandor.
JAWS it ain’t, nor is it named WANDA. But the dinner-sized carp that plays the title role in Joan Micklin Silver’s A FISH IN THE BATHTUB causes plenty of ruckus in the lives of a Queens, NYC family that briefly comes apart at the seams after it takes up splashy residence in a spare bathroom.
All so aptly named, Fandor’s themed compendium “I Need Space” offers up 27 movies that unreel across the great outdoors—and, occasionally, outer space itself—in unforgettable locations all around the globe. To get your viewing started, Keyframe offers a thumbnail guide to six wildly distinct features.