Streaming April 24th – April 30th

Hello again to our loyal New Plaza Cinema patrons. In addition to offering all ten films currently on our website for at least one more week, through April 30, we’ve added three new Kino Marquee titles. 

Beyond the Visible: Hilma af Klint is a new documentary portrait of the 19th century Swedish abstract painter whom historical hindsight has shown changed the course of art history, predating such masters as Kandinsky and Mondrian. Many of you may have seen the recent Klint exhibition at the Guggenheim, and Tony Scott’s admiring NYT review is linked here. We’re very happy to have access to this film in the first week of its American release, thanks to Kino Marquee and its theatrical distributor Zeitgeist Films.

Hungarian director Istvan Szabo’s early 80s classics, the Oscar-winning Mephisto and Confidence (also an Oscar nominee), were reissued in theaters in January. Somehow I had never seen either one and wound up watching them as a double feature at Film Forum – one of my most surprising and exhilarating viewing experiences of the past year. Mephisto introduced Klaus Maria Brandauer to US audiences, in a whirling-dervish performance as a passionate stage actor caught up in a Faustian bargain with the Nazis during WWII. 

In Confidence, lesser known but no less compelling, the Hungarian resistance shelters a married couple from German occupiers – the woman is sent to pose as the wife of another resistance member who’s in hiding and also pretending to be someone else, and they slowly begin to fall in love. I highly recommend both films – though perhaps not back to back… beautifully performed, but very intense!

— Gary Palmucci, Film Curator
New Plaza Cinema

Each film is available for $12 per household / device and will be available for 3 days or 5 days once you have purchased. Details below.

How do I access the movie?

For the movies that are available for 3 days you can watch on your computer, phone, or tablet, or cast to your Google Chromecast or Smart TV. You can also download the Film Movement app, log in and watch the movie there.

For assistance or answers to questions for the movies that are available for 3 days please click on this link:

For the movies that are available for 5 days you can watch on your computer, phone, or tablet, or cast to your Google Chromecast or Smart TV. You can also download the Kino Now app for Roku or Apple TV (requires tvOS 9.0 or later) and watch the film there.

For assistance or answers to questions for the movies that are available for 5 days please send an email to:


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Director: István Szabó
(1981 – 146 minutes – Not Rated)

In German and Hungarian with English subtitles.
The 1981 Academy Award-winning Best Foreign Language Film Mephisto, by Hungarian master István Szabó, concerns a passionate but struggling actor (Klaus Maria Brandauer) who remains in Germany during the Nazi regime and reaps the rewards of this Faustian pact by finally achieving the stardom he has long craved. Sparkling new 4K restoration by the Hungarian Film Fund.


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Director: István Szabó
(1980 – 106 minutes – Not Rated)

In Hungarian with English subtitles.
1980’s Confidence was nominated for an Academy Award and Hungarian master István Szabó won Berlin’s Silver Bear for Best Director. In World War II-era Hungary, the resistance pairs two unrelated members to act as husband and wife in an effort to stay hidden in plain sight. Will they be able to maintain the illusion without giving in to their growing feelings for each other? Sparkling new 4K restoration by the Hungarian Film Fund.

Beyond the Visible – Hilma af Klint

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Director: Halina Dyrschka
(2019 – 93 minutes – Not Rated)

Hilma af Klint was an abstract artist before the term existed, a visionary, trailblazing figure who, inspired by spiritualism, modern science, and the riches of the natural world around her, began in 1906 to reel out a series of huge, colorful, sensual, strange works without precedent in painting. The subject of a recent smash retrospective at the Guggenheim Museum, af Klint was for years an all-but-forgotten figure in art historical discourse, before her long-delayed rediscovery. Director Halina Dryschka’s dazzling, course correcting documentary describes not only the life and craft of af Klint, but also the process of her mischaracterization and erasure by both a patriarchal narrative of artistic progress and capitalistic determination of artistic value.


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Director: Kantemir Balagov
Official Selection: 2019 Cannes, Telluride, and Toronto Film Festivals 
Shortlist: 2020 Academy Awards – Best International Film 
(2019 – 137 minutes – Not Rated)

In Russian with English subtitles.
In post-WWII Leningrad, two women, Iya and Masha (astonishing newcomers Viktoria Miroshnichenko and Vasilisa Perelygina), intensely bonded after fighting side by side as anti-aircraft gunners, attempt to readjust to a haunted world. As the film begins, Iya, long and slender and towering over everyone—hence the film’s title—works as a nurse in a shell-shocked hospital, presiding over traumatized soldiers. A shocking accident brings them closer and also seals their fates. The 28-year-old Russian director Kantemir Balagov won Un Certain Regard’s Best Director prize at this year’s Cannes Film Festival for this richly burnished, occasionally harrowing rendering of the persistent scars of war.

Corpus Christi

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Director: Jan Komasa
Nominee: 2020 Academy Awards – Best International Feature
(2019 – 116 minutes – Not Rated)

In Polish with English subtitles.
After years in juvenile prison, 20-year-old Daniel is released and sent to a small village to work as a manual laborer. Upon his arrival, a quick lie has him mistaken for a priest. Though untrained, his passion and charisma inspire the community. At the same time, his unconventional sermons and unpriestly behavior raise suspicions.

Anchored by a “dynamically physical, wild-eyed performance” (The Hollywood Reporter) from newcomer Bartosz Bielenia, the Oscar-nominated CORPUS CHRISTI is an incisive, darkly humorous, and “engrossing exploration of faith, second chances and the possibility of atonement” (Screen).

The Wild Goose Lake

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Director: Diao Yinan
(2019 – 117 minutes – Not Rated)

In Chinese with English subtitles.
When small-time mob leader Zhou Zenong (Hu Ge) accidentally kills a cop, a dead-or-alive bounty is placed on his head, forcing him on the lam from both the police as well as dangerous gangsters out for the reward. Hiding out at the Wild Goose Lake, Zhou becomes entangled with a beautiful, enigmatic woman (Gwei Lun Mei), who has mysterious intentions of her own.
From the director of BLACK COAL, THIN ICE and featuring gorgeous, neon-drenched cinematography coupled with bursts of shocking, expertly choreographed action, THE WILD GOOSE LAKE is “spellbinding” (Rolling Stone), “brilliant” (Indiewire) and “downright Hitchcockian” (AV Club).

Zombi Child

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Director: Bertrand Bonello
(2019 – 103 minutes – Not Rated)

In French with English subtitles.
Haiti, 1962. A man is brought back from the dead only to be sent to the living hell of the sugarcane fields. 55 years later, at a Parisian boarding school, a Haitian teenager confesses an old family secret, never imagining that this strange tale will inspire her classmate to do the unthinkable.

The latest from French master Bertrand Bonello (Saint Laurent, Nocturama), ZOMBI CHILD is an “audacious and cunning” (Little White Lies) new take on classic horror tropes that “poses timely and provocative questions” while “taking us on a journey that’s as intellectually demanding as it is compelling.” (Screen Daily).


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Director: Luchino Visconti
(1979 – 129 minutes – Rated R)

In Italian with English subtitles.
Gabriele d’Annunzio’s passionate novel is brought to life in the final masterpiece from acclaimed director Luchino Visconti. In late-nineteenth century Italy, Tullio (Giancarlo Giannini), an insatiable aristocrat, grows bored with his timid wife Giuliana (Laura Antonelli) and neglects her for his mistress, the wealthy widow Countess Teresa Raffo (Jennifer O’Neill).

Newly restored, L’INNOCENTE is a “luscious stab to the heart of the aristocracy” (Los Angeles Times) that is “among the most beautiful [and] disciplined films” Visconti ever made and a “fitting coda to [his] career” (The New York Times).

Dona Flor and Her Two Husbands

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Director: Bruno Barreto
(1976 – 110 minutes – Rated R)

In Portuguese with English subtitles.
Based on the novel by Jorge Amado, this Golden Globe and BAFTA-nominated comedy follows the strange events that befall Dona Flor (Sonia Braga) after she is left a widow by the death of her wild, irresponsible husband. Shortly after remarrying, she finds her new, less-than-satisfying sex life revived when the ghost of her late husband unexpectedly returns.

Newly restored, the “marvelously funny” (Time Magazine) DONA FLOR AND HER TWO HUSBANDS was an instant international hit, launching the career of the “bewitchingly beautiful” (People) Sonia Braga and becoming (at the time) Brazil’s highest grossing box office feature.


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Directors: Kleber Mendonça Filho and Juliano Dornelles
(2019 – 131 minutes – Not Rated)

In English and Portuguese with English subtitles.
A few years from now… Bacurau, a small village in the Brazilian sertão, A few years from now… Bacurau, a small village in the Brazilian sertão, mourns the loss of its matriarch, Carmelita, who lived to be 94. Days later, its inhabitants (among them Sônia Braga) notice that their village has literally vanished from online maps and a UFO-shaped drone is seen flying overhead. There are forces that want to expel them from their homes, and soon, in a genre-bending twist, a band of armed mercenaries led by Udo Kier arrive in town picking off the inhabitants one by one. A fierce confrontation takes place when the townspeople turn the tables on the villainous outsiders, banding together by any means necessary to protect and maintain their remote community. The mercenaries just may have met their match in the fed-up, resourceful denizens of little Bacurau.

Sorry We Missed You

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Director: Ken Loach
(2019 – 100 minutes – Not Rated)

The British working class is once again the empathetic subject of Ken Loach’s Sorry We Missed You, a wrenching, intimate family drama that exposes the dark side of the so-called “gig economy”.

Ricky, a former laborer, and his home-attendant wife Abby – who lost their home in the 2008 financial crash – are desperate to get out of their financial distress. When an opportunity comes up for Ricky to work as his own boss as a delivery driver, they sell their only asset, Abby’s car, to trade it in for a shiny new white van and the dream that Ricky can work his way up to someday owning his own delivery franchise.

But the couple find their lives are quickly pushed further to the edge by an unrelenting work schedule, a ruthless supervisor and the needs of their two teenage children. Capturing the sacred moments that make a family as well as the acts of desperation they need to undertake to make it through each day, this universal story is skillfully and indelibly told with unforgettable performances and a searing script by Loach’s long-time collaborator Paul Laverty.

The Woman Who Loves Giraffes

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Director: Alison Reid
(2019 – 82 minutes – Not Rated)

In 1956, four years before Jane Goodall ventured into the world of chimpanzees and seven years before Dian Fossey left to work with mountain gorillas, 23-year-old biologist Anne Innis Dagg made an unprecedented solo journey to South Africa to study giraffes in the wild. When she returned home a year later, the insurmountable barriers she faced as a female scientist proved hard to overcome. In The Woman Who Loves Giraffes Anne (now 86) retraces her steps, offering an intimate window into her life as a young woman, juxtaposed with a first-hand look at the devastating reality that giraffes are facing today. Anne and the species she loves have each experienced triumphs as well as setbacks. The Woman Who Loves Giraffes gives us a moving perspective on both.

Extra Ordinary

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Directors: Enda Loughman and Mike Ahern
(2020 – 93 minutes – Rated R)

Rose, a sweet, lonely driving instructor in rural Ireland, is gifted with supernatural abilities. Rose has a love/hate relationship with her ‘talents’ and tries to ignore the constant spirit related requests from locals – to exorcise possessed rubbish bins or haunted gravel. But! Christian Winter, a washed up, one-hit-wonder rock star, has made a pact with the devil for a return to greatness! He puts a spell on a local teenager – making her levitate. Her terrified father, Martin Martin, asks Rose to help save his daughter. Rose has to overcome the fear of her supernatural gift and work with Martin to save the girl, get the guy and be home in time for a light snack… maybe a yogurt or something.