New to Streaming: All We Picture as Light, Matt and Mara, Suze, Jazzy & Others

      Each week, we showcase the notable titles that have recently become available on streaming platforms in the United States. Discover this week's picks below and previous compilations here.

      **All We Imagine as Light (Payal Kapadia)**

      Following her captivating and mysterious debut, *A Night of Knowing Nothing*, Payal Kapadia presents a distinctly different tone with her brilliant Cannes Film Festival Grand Prize winner, *All We Imagine as Light*. Luke Hicks notes in his review, “Writer-director Payal Kapadia focuses not on the glamorous aspects of Mumbai that often attract international attention. As suggested by its opening soundscape, *All We Imagine as Light* aims to shine a light on the vibrancy of life within India’s lower classes, highlighting the inequality and socio-economic injustices that shape their daily experiences, while also celebrating their inherent resilience and refusal to have their love, beauty, and sense of community stripped away.”

      **Where to Stream:** VOD

      **Dìdi (弟弟) (Sean Wang)**

      While attempting to engage his classmate Madi (Mahaela Park) on AIM, Chris (Izaac Wang) searches through her MySpace for a common interest. Amid the Paramore images and low-res GIFs, he finds a list of her favorite films, including *A Walk to Remember*. He pretends to be a fan, exclaiming, “It’s helllllla good.” He now has to uphold this pretense for several scenes. This pattern recurs throughout Sean Wang's feature directorial debut. The character dynamics unfold organically and the period detail is commendable. Ultimately, *Dìdi (弟弟)* succeeds despite its unrealized potential. – Matt C. (full review)

      **Where to Stream:** Prime Video

      **Farewell My Concubine (Chen Kaige)**

      Originally premiering 30 years ago last year, Chen Kaige’s mesmerizing, Palme d’Or-winning, and Oscar-nominated film *Farewell My Concubine* has returned to theaters in its original, stunningly restored 4K version. Featuring performances by Leslie Cheung, Fengyi Zhang, and Gong Li, the film had previously been cut by 20 minutes due to editing decisions. Now back to its original form, it is available on Film Movement+.

      **Where to Stream:** Film Movement+

      **Flipside (Chris Wilcha)**

      There is no shocking revelation in Chris Wilcha’s documentary *Flipside*, which makes its world premiere at the 2023 Toronto International Film Festival. This is not a true crime narrative or a tale of deep family secrets. (Though plenty of forgotten memorabilia is uncovered after years of mild hoarding.) Instead of a twist, the film offers an awakening for the audience, transforming a typical memory-laden documentary into an unexpectedly poignant exploration. Ultimately, *Flipside* is a heartfelt, humorous, and inventive film that may inspire viewers to reflect deeply on their own lives—a noteworthy achievement for a documentarian. – Chris S. (full review)

      **Where to Stream:** The Criterion Channel

      **The Graduates (Hannah Peterson)**

      *The Graduates* is a subtle film. Written and directed by Hannah Peterson, it narrates the events taking place in a high school one year after a tragic shooting. Genevieve (Mina Sundwall)—whose boyfriend Tyler was among the victims—fights to complete her final year, eager to graduate and hopefully start fresh in college. Her mother (Maria Dizzia) treads carefully, doing everything possible to support Genevieve through this unbearable trauma while ensuring her grades remain high enough for graduation. Meanwhile, Tyler’s best friend Ben (Alex Hibbert) returns after an absence and rekindles his friendship with Genevieve. Additionally, the school basketball coach (John Cho) strives to push through the season, a difficult task as Tyler was his son. – Dan M. (full review)

      **Where to Stream:** VOD

      **Jazzy (Morrisa Maltz)**

      Expanding on the themes from her first feature *The Unknown Country*, Morrisa Maltz’s *Jazzy* offers a beautifully rendered depiction of childhood in South Dakota, evoking an aesthetic reminiscent of Sofia Coppola’s ethereal style. Created in close collaboration with its subjects, *Jazzy* develops one of the documentary segments from her previous film into a portrayal of a community as seen through the eyes of two young girls growing up in a modest environment. For much of the film, adults are heard yet not seen; fathers remain absent, and the film’s final act delivers a cathartic moment resonant with the resolution of *The Unknown Country*. Maltz frequently collaborates with communities outside her own, as her films often center on the concept of connections—both found and rediscovered. – John F. (full review)

      **Where to Stream:** VOD

      **Matt and Mara