|PORTRAIT OF A LADY ON FIREPORTRAIT OF A LADYCOLLECTIONTHIS WEEKVALENTINE|
Surprise! Portrait of a Lady on Fire will be streaming on Hulu tonight. The critically acclaimed historical drama/lesbian romance film from Céline Sciamma will drop onto the streaming service at midnight PST, so let’s all agree to stay up very late and watch it together. Noémie Merlant and Adèle Haenel star in the story of an artist and her reluctant subject.
Cinema’s greatest love story, PORTRAIT OF A LADY ON FIRE, debuts tonight at midnight PST, exclusively on @hulu. VOD launches April. pic.twitter.com/rWjKX0zs9j
— NEON @neonrated March 26, 2020
The general news has been so dire lately that we’ll take all the good surprises we can get. Like this: you can find Portrait of a Lady on Fire streaming on Hulu tonight at midnight PST. It’s one of the best films of last year, and if you haven’t had a chance to catch it at a local arthouse cinema, this is your next best opportunity.
Set in France in 1770, the French-language film follows Marianne, a painter who is “commissioned to paint the wedding portrait of Héloïse, a young woman who has just left the convent. Because she is a reluctant bride-to-be, Marianne arrives under the guise of companionship, observing Héloïse by day and secretly painting her by firelight at night. As the two women orbit one another, intimacy and attraction grow as they share Héloïse’s first moments of freedom. Héloïse’s portrait soon becomes a collaborative act of and testament to their love.”
Portrait of a Lady on Fire is every bit as good, and gorgeous, as you’ve heard. Believe the hype – you’re going to want to check this one out. Céline Sciamma movie won the Best Screenplay award at last year’s Cannes Film Festival, and was nominated for an Independent Spirit Award for Best Foreign Language Film, nominated by the Hollywood Critics Association for Best Foreign Language Film and was awarded Best Cinematography by the New York Film Critics.
The movie landed on several /Film staff members’ Best Films of 2019 list, and our own Ben Pearson even included it as one of the Best Films of the Decade. That may sound like we’re over-hyping this thing – but I promise, we’re not.
With streaming dominating the industry — and suddenly becoming the “new normal” in a changing world, at least for now — IndieWire is taking a closer look at the news cycle, breaking down what really matters to provide a clear picture of what companies are winning the streaming wars — and how they're pulling ahead.
By looking at trends and the latest developments, Streaming Wars Report: Indie Edition will offer a clear picture of what's happening overall and day-to-day in streaming for the indie set. Check out last week’s Streaming Wars Report on the latest updates to the bigger players in the industry.Buzzy Originals
Will Collapsed Theatrical Windows Help the Indies, Too?
We knew the streaming revolution was coming, but not at this cost. As the world has adjusted to a new normal — working from home if possible, social isolation necessary, and trying to stave off a sense of dread that applies to nearly every aspect of existence — entertainment is needed, but facing a crisis: Movie theaters are closed, massive tentpole release dates have been shoved into some nebulous future, and going out for a show is simply no longer possible.
Fortunately, in a fraught time, there is at least a teensy silver lining in more streaming choices than ever before. In recent days, that includes a newcomer, with Universal Pictures stepping up as the first studio to truly collapse the theatrical window by pushing new films like “The Hunt,” “The Invisible Man,” and “Emma” to premium VOD platforms mere weeks after their theatrical releases. At least one studio has already followed Universal’s lead: Sony is amping up to do the same with its recent release “Bloodshot.”
But what about the indies? While plenty of consumers are aware of studio-backed streamers like Disney+ and the big guns like Netflix, Amazon, and Apple+ — all of which offer their own originals and content from other outfits — most are likely not in the loop when it comes to similar platforms from smaller distributors. It’s time for that to change.
While the majority of arthouse distributors have yet to collapse their own theatrical windows as dramatically as Universal did just this week, they’re catching up, and fast. Kino Lorber, which also runs its own streaming site Kino Now, has announced its own attempt to bring theatrical releases to the masses. Billed as Kino Marquee, the fledgling “virtual theatrical exhibition initiative” will soon bring the well-regarded Kleber Mendonça Filho and Juliano Dornelles film “Bacurau” online for instant viewing.
It’s a two-pronged approach by the boutique distributor, intended to both bolster the film a Cannes 2019 highlight that was released in U.S. theaters just last month and...
Netflix is doing its best to keep us sane during these uncertain, self-isolating times, and the streaming platform is gifting us another season of one of its most popular dramas and a feel-good film to cuddle up with this weekend.
Jason Bateman is back to the life of crime for Ozark's third season, and the stakes could not be higher or darker. But for some more comforting fare, try Uncorked, a new film that's all about wine — or at least, mostly about wine, but there's some uplifting family content in there too. Here's everything coming to and leaving Netflix this week of March 27th.Ozark: Season 3 Netflix series streaming 3/27
Netflix's darkly-lit drama series returns for more illegal shenanigans. After a six-month time jump, the family's got the casino up and running, but Marty and Wendy are battling on just how deep they should dig into this life of crime. Wendy strikes a deal with a dangerous drug cartel, but her plans are thrown for a loop when her brother comes to town. Expect the same stellar performances delivered in depressingly dim lighting.Uncorked Netflix film streaming 3/27
Mamoudou Athie, Courtney B. Vance, and Niecy Nash star in this family drama about a young man with dreams that go against his parents' expectations. Athie plays Elijah, a sensitive, eager 20-something whose dream of becoming a Master Sommelier clashes with his father's desire for him to run the family BBQ joint. Elijah pursues his path anyway, heading to France and testing for a prestigious program with the help of his friends. It's the kind of feel-good content we all need right now.Here's a full list of what's been added in the last week:
Avail. 3/23Sol Levante
Avail. 3/25Crip Camp: A Disability RevolutionCurtizThe Occupant HogarSignsYooHoo to the Rescue: Season 3
Avail. 3/267SEEDS: Part 2Blood FatherUnorthodox
Avail. 3/27Car Masters: Rust to Riches: Season 2The DeclineDragons: Rescue Riders: Hunt for the Golden DragonIl processoKilling Them SoftlyOzark: Season 3There's Something in the WaterTrue: Wuzzle Wegg DayUncorkedAnd here's what's leaving next week, so it's your last chance:
Leaving 3/30Batman BeginsCharlie's AngelsCharlie's Angels: Full ThrottleDeath at a FuneralDrugs, Inc. Season 5HairsprayKill Bill: Vol. 1Kill Bill: Vol. 2New York MinuteP.S. I Love YouParanormal ActivitySmall SoldiersThe Dark KnightThe Lord of the Rings: The Return of the KingThe Lord of the Rings: The Two TowersWild Wild West
Back when Scream was released in 1996, it revitalized the slasher genre formula with its blend of self-referential humor and genuine scares. Once it became a cultural and box office phenomenon, it ushered in a new era of horror films in a similar vein such as I Know What You Did Last Summer and The Faculty. But then came a slasher pic that was inventive while showcasing the traditional slasher formula. Yet, because it still stuck to tradition and wasn’t entirely in the same vein as Scream, it became instantly underrated.
When Valentine came out 19 years ago, it received quite a critical bashing. According to the critics consensus on its Rotten Tomatoes page, it is a “formulaic throwback to conventional pre-Scream slasher flicks.” On the one hand, yes, it does follow the traditional slice-and-dice formula that slasher films would have in the pre-Scream era. However, it is both familiar and non formulaic and deserves more praise for how it attempts to stand out from other films within the rather interchangeable genre.
The story is familiar enough. A group of women: Kate Marley Shelton, Paige Denise Richards, Shelley Katherine Heigl, Dorothy Jessica Capshaw and Lily Jessica Cauffiel, are picked off one by one by a former classmate they tormented in their childhood. Also, the film takes place around Valentine’s Day, hence the title, and opens with a Valentine’s Day Dance from 1988. During that opening sequence, the killer, Jeremy Melton, asks his female classmates to dance with him only for most of them to harshly reject him. Thirteen years after that dance, Jeremy comes back for his revenge.
Its basic premise, along with the killer’s identity being evident, is what likely results in its reputation of being a copy-and-paste slasher flick. However, while the lack of grand mystery surrounding the antagonist may be true, Valentine is more interested in examining the mistakes made by the main characters. It mainly follows them in their adult years to show whether they’ve learned from the torment they caused Jeremy in middle school. It is hinted that there is a history of Jeremy being bullied outside of the night of the dance. So, the film asks whether some of them realized how wrong their bullying was.
Additionally, a false reputation that Jeremy was hit with becomes a method to his madness. After being accused of assaulting Dorothy at the aforementioned Valentine’s Day dance, he was sent away and eventually became the psycho that his classmates believed he was. He wasn’t motivated by fame the way some of the Ghostface killers in the Scream series were nor was he driven by the death of a loved one like Mrs. Voorhees in Friday the 13th. Instead, Melton is driven by his indignation over being deprived of an ideal existence due to torment by his classmates and the accusation that shattered...