New Plaza Cinema would like to thank you, our loyal patrons, for your many expressions of support during this challenging year and particularly these past few weeks. We are excited to offer you exceptional movies virtually. These are movies that we would have been watching together in the theater.
If you can’t come to the theater, we will bring the theater to you!
We are grateful that technology gives us the opportunity to continue to offer the cinematic experience to our devoted audiences in the New York community – your support with the purchase of tickets to these films will help us remain viable in this turbulent moment in our history, as we plan for the future with a new venue and film programs on the Upper West Side.
The show must go on – and thanks to you, it will.
— Gary Palmucci, Film Curator
New Plaza Cinema
These movies are 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: https://www.filmmovementplus.com/help?_ga=2.73738898.1800056500.1586378665-530620633.1585508192
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: email@example.com
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).
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).
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).
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).
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.
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.
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.
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.
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.