New to Streaming: The Love That Persists, Magellan, Undertone, The Timeline of Water & More

      Each week, we feature significant titles that have recently become available on streaming services in the United States. Discover this week's picks below as well as previous compilations here.

      **All You Need Is Kill (Kenichiro Akimoto)**

      The latest adaptation of *All You Need Is Kill*, directed by Kenichiro Akimoto and produced by Studio 4°C, is an animated reimagining of the time-loop novel that inspired Doug Liman's *Edge of Tomorrow*, starring Tom Cruise. It poses the question: what distinguishes this day from all others? With two decades of various adaptations in different formats, it carves out a unique identity characterized by its stunning visual flair and a video game-like structure, while traditional drama feels mechanical, as though it has been repeated countless times. – Eli F. (full review)

      **Where to Stream:** VOD

      **Alpha (Julia Ducournau)**

      Julia Ducournau has taken a sharp turn since her film *Titane*, the gritty and surreal thriller that won the Palme d’Or from Spike Lee’s Cannes jury in 2021. There is no doubt that attention is focused on her latest work, *Alpha*, in a way it wasn't on *Titane* following *Raw*. This newest offering is her most horrifying film by a large margin, exploring cannibalism through the lens of a teenage girl entering veterinary school. In contrast to her earlier works, there are no consumed bodies or fire-hood cars involved, but nearly everyone’s life is falling apart. – Luke H. (full review)

      **Where to Stream:** VOD

      **Atropia (Hailey Gates)**

      Set in the fictional land of Atropia, everything is treated as real. Located in the southern California desert, this mock military training ground resembles an Iraqi city, populated by numerous actors posing as insurgents and vendors. The town, informally referred to as “The Box,” is one of 200 role-playing mock villages scattered across the U.S., designed for immersive military training before deployment in the Middle East. Those who enter this replica know their mission: to complete objectives, understand the culture, and survive. – Jake K-S (full review)

      **Where to Stream:** MUBI

      **The Chronology of Water (Kristen Stewart)**

      As a director, Kristen Stewart conveys words through her filmmaking, etching them into the essence of her work like scars. One cannot breathe underwater. The adaptation of Lidia Yuknavitch’s memoir transforms into a stifling experience, keeping viewers submerged even as they yearn for air. By the halfway point, *Chronology* may provoke disassociation, yet one cannot look away or walk out. You push forward, striving to break the surface for a breath. Stewart’s remarkable debut offers more than catharsis; it comprehends every facet leading to that moment. — Blake S.

      **Where to Stream:** VOD

      **The Love That Remains (Hlynur Pálmason)**

      Picture an Icelandic artist akin to Sally Mann in her early years, yearning for recognition from the high-art world. She dwells in a remote countryside, relying on her five-member family to fuel her creativity. Rather than capturing her reality with a camera, Anna creates art using the prolonged sunlight; instead of traditional prints, she crafts metal art that evolves naturally through the seasons. Now, envision a heart-wrenching separation unfolding over a year, centered around three children, differing ideologies, and over a decade of resentment stemming from a fisherman husband’s failure to keep up his side of existential commitment and self-care. Hlynur Pálmason’s current masterpiece focuses precisely on what its title suggests: the love that persists between ex-partners—in its frayed, preserved, bitter, affectionate, and beautifully complex nature—as well as the potential futures that can arise. — Luke H.

      **Where to Stream:** VOD

      **Magellan (Lav Diaz)**

      With a Western star leading the way and a cozy runtime of 163 minutes, it’s easy to label *Magellan* as Lav Diaz’s most “accessible film.” However, for fervent fans, it’s evidently the culmination of his career-long effort. Throughout his body of work, he has tackled the demons of a nation lacking an identity and faced with brutal colonization. Now, he turns his gaze to the Philippines' original sin. Ever provocative, Diaz challenges the myth of Ferdinand Magellan, depicting him as a feeble, pitiful figure who inadvertently sowed destabilization while criticizing our desire to see it. It is not coincidental that *Magellan* begins with an indigenous woman startled by an off-screen sound, looking into the camera, screaming, and fleeing: even the prying eyes of “compassion” are complicit, and Diaz makes that clear. — Brandon S.

      **Where to Stream:** The Criterion Channel

      **The Running Man (Edgar Wright)**