New to Streaming: Rose of Nevada, Romería, The Fence, Mother Mary, and More

      Each week, we feature notable titles that have recently become available on streaming services in the United States. You can explore this week's picks below and find previous round-ups here.

      **Armageddon Time** (James Gray)

      *Armageddon Time* is often referred to as a “portrait of the nation” or a “state of the union address,” capturing the essence of a country—likely the United States—at a specific moment in time. However, it also turns self-awareness into an asset: the talented writer-director, James Gray, is deeply aware of the strengths and weaknesses of such films, and creates something uniquely his own, even if audiences and critics might still categorize it with those earlier descriptors. – David K. (full review)

      **Where to Stream:** Netflix

      **Bouchra** (Meriem Bennani, Orian Barki)

      Inspired by a real conversation between co-director Meriem Bennani and her mother, *Bouchra* (co-directed with Orian Barki and co-written with Ayla Mrabet) begins with a phone call. Aicha (Yto Barrada) is checking on her daughter from Morocco when Bouchra (Bennani) brings up a topic they have been avoiding for nearly a decade. Facing a creative block, Bouchra seeks emotional release through a screenplay exploring the complicated relationship with her parents and looks for understanding from their perspective. – Jared M. (full review)

      **Where to Stream:** VOD

      **The Fence** (Claire Denis)

      Having had a quiet release in theaters earlier this month, Claire Denis’ *The Fence* is now available for streaming. Though perhaps not as evocative and intense as some of her best work, it has lingered in my mind more than many of last year’s most praised films. Ethan Vestby noted in his review, “Is the concept of a Claire Denis film evolving? One might have once had a clear image of her style: elliptical, sensual, avant-garde. Recent projects, however, suggest a new direction that is far more straightforward and less enigmatic. It could even be argued that her latest, *The Fence*, resembles a concluding film—not necessarily a grand summation, but a simplification of much that has come before.”

      **Where to Stream:** AMC+

      **Is God Is** (Aleshea Harris)

      Describing the family history faced by twin sisters Racine (Kara Young) and Anaia (Mallori Johnson) in *Is God Is*, Aleshea Harris’ adaptation of her celebrated play as “complicated” merely scratches the surface. As a directorial debut filled with inventive storytelling and style, this revenge narrative follows the sisters in their quest for justice after their father abandoned them and their mother. While the dramatic elements sometimes detract from the desired emotional resonance, it stands as an impressive first directorial effort for Harris, likely leading to further projects. – Jordan R.

      **Where to Stream:** Prime Video

      **Mother Mary** (David Lowery)

      The initial sound in *Mother Mary* is Michaela Coel's voice, who signals the upcoming arrival of Mother Mary and warns us that this tale is cursed. Those who have been tuning into television over the past decade will recognize the richness and clarity of her voice. Yet now, on the big screen, it resonates more powerfully than ever. Writer-director David Lowery sets the stage for *Mother Mary*, but it is Coel—portraying the burnt-out yet sharp fashion designer Sam Anselm—who captures the spotlight. Coel commands the screen, engaging our senses; despite her previous film roles, *Mother Mary* feels like her notable debut. Residing in a large, somber estate in England, Sam has isolated herself from society. Her only companions are her work, her devoted assistant Hilda (Hunter Schafer), and a flicker of passion that helps fend off encroaching feelings of boredom. Crucially, Sam is also a woman tormented by love, with her creativity spurred by enduring, profound heartbreak. – Jourdain S. (full review)

      **Where to Stream:** HBO Max

      **Red Rooms** (Pascal Plante)

      Part courtroom thriller and part satire inspired by *Demonlover*, *Red Rooms* explores how technology fuels our most forbidden addictions, all while being utterly irresistible. I was initially puzzled by the frequent comparisons to David Fincher, beyond its icy take on the serial-killer genre, but it gradually became clear: similar to audiences who have convinced themselves that Gwyneth Paltrow’s head is in a box in *Se7en*, this film draws its strength from allowing viewers to conjure the most horrific images on their own. Without a concrete view to anchor the narrative, the worldview and motivations of Kelly-Anne (Juliette Gariépy) remain elusive, with her actions—ranging from befriending a serial-killer “