The following movies are available from various distributors and the price and length of rental varies per selection. Please review the details for each film.
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A portion of the proceeds for each film you rent supports New Plaza Cinema. We appreciate your support!
Featured Films of the Week
2 day Rental
Director: Elizabeth Kennedy
(2019 – 82 minutes – Not Rated)
Master chef, teacher, and environmental activist Diana Kennedy is living proof that size has nothing to do with strength. Now in her 90s and barely five feet tall, she’s a fierce jolt of energy that has become one of the most celebrated culinary legends of Mexican cuisine. Blending incredible archival footage from her many television appearances and unprecedented access to her ecologically sustainable home, Diana Kennedy: Nothing Fancy is a charming homage to a culinary trailblazer and a true inspiration.
Director: Steve James
(2014 – 120 minutes – Rated R)
Acclaimed director Steve James (Hoop Dreams) and executive producers Martin Scorsese (The Departed) and Steven Zaillian (Moneyball) present Life Itself, a documentary film that recounts the inspiring and entertaining life of world-renowned film critic and social commentator Roger Ebert – a story that is by turns personal, funny, painful, and transcendent. Based on his bestselling memoir of the same name, Life Itself, explores the legacy of Roger Ebert’s life, from his Pulitzer Prize-winning film criticism at the Chicago Sun-Times to becoming one of the most influential cultural voices in America.
Director: Rob Garver
(2018 – 98 minutes – Not Rated)
“The most powerful, loved, and hated film critic of her time.” – Roger Ebert on Pauline Kael (1919-2001). In a field that has historically embraced few women film critics, Kael was charismatic, controversial, witty, and discerning. Her decades-long berth at The New Yorker energized her fans (“Paulettes”) and infuriated her detractors on a weekly basis.
Her turbo-charged prose famously championed the New Hollywood Cinema of the late 1960s and ‘70s (Bonnie and Clyde, Nashville, Carrie, Taxi Driver) and the work of major European directors (François Truffaut, Bernardo Bertolucci), while mercilessly panning some of the biggest studio hits (The Sound of Music, Midnight Cowboy, Dirty Harry).
Her creepy battle with Andrew Sarris and his auteur theory was legendary, and her stint in Hollywood, trying her hand at producing, was a disaster. In this film Sarah Jessica Parker reads from Kael’s reviews and filmmakers Quentin Tarantino, Paul Schrader, and Francis Ford Coppola and critics Camille Paglia, Molly Haskell, Greil Marcus, and David Edelstein speak to her enormous gifts and influence.
Other Films to Rent
Director: D.W. Young
(2020 – 99 minutes – Not Rated)
Antiquarian booksellers are part scholar, part detective, and part businessperson, and their personalities and knowledge are as broad as the material they handle. They also play an underappreciated yet essential role in preserving history. The Booksellers takes viewers inside their small but fascinating world, populated by an assortment of obsessives, intellects, eccentrics, and dreamers.
“The Booksellers is a documentary for anyone who can still look at a book and see a dream, a magic teleportation device, an object that contains the world.” – Variety
“A treat for anyone who appreciates the printed word.” – The Hollywood Reporter
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.
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.
Director: Corneliu Porumboiu
(2019 – 97 minutes – Not Rated)
In Romanian, Spanish, and English with English subtitles.
In The Whistlers, not everything is as it seems for Cristi, a police inspector in Bucharest who plays both sides of the law. Embarking with the beautiful Gilda on a high-stakes heist, both will have to navigate the twists and turns of corruption, treachery and deception. A trip to the Canary Islands to learn a secret whistling language might just be what they need to pull it off.
“A funhouse of cinematic mirrors. ‘The Whistlers’ makes reading subtitles not just vital, but fun.” — Justin Chang, Los Angeles Times
“If the Coen Brothers were Romanian, they might have made ‘THE WHISTLERS’.” — A.O. Scott, The New York Times
‘‘A daffy and dazzling crime film. Taut and constantly surprising, the film breathes new life into staid genre conventions.” — RogerEbert.com
Director: Dror Zahavi
(2020 – 112 minutes – Not Rated)
In German with English subtitles.
When world-famous conductor Eduard Sporck (Peter Simonischek, known for Toni Erdmann) accepts the job to create an Israeli-Palestinian youth orchestra, he is quickly drawn into a tempest of sheer unsolvable problems. Having grown up in a state of war, suppression, or constant risk of terrorist attacks, the young musicians from both sides are far from able to form a team. Lined up behind the two best violinists – the emancipated Palestinian Layla and the handsome Israeli Ron – they form two parties who deeply mistrust each other, on and off-stage alike. Will Sporck succeed and make the young people forget their hatred, at least for the three weeks until the concert? With the first glimmer of hope, however, the political opponents of the orchestra show them how strong they are…
Loosely inspired by Daniel Barenboim’s West-Eastern Divan Orchestra, Academy-Award nominated director Dror Zahavi (Alexander Penn, Everything for my Father) directs this gripping drama as a constantly growing “crescendo,” rising the tension and conflicts until the last frame. Lead actor Peter Simonischek (Toni Erdmann) stars next to a highly convincing selection of up-and-coming actors like Daniel Donskoy (Victoria) and Sabrina Amali (4 Blocks). A remarkable theatrical movie and contribution to the world-wide efforts towards understanding, humanity and peace.
Director: Yaron Zilberman
(2019 – 123 minutes – Not Rated)
In Hebrew with English subtitles.
Acclaimed writer-director Yaron Zilberman (A Late Quartet) chronicles the disturbing descent of a promising law student to an intransigent ultranationalist obsessed with murdering his country’s leader, Israeli Prime Minister Yitzhak Rabin. Incitement is a gripping and unnerving look through the eyes of a murderer who silenced a powerful voice for peace.
“Powerful. The incitement in Israel that killed Yitzhak Rabin.” – The New York Times
“Timely. Remarkable. Chilling.” – The Hollywood Reporter
“A Daring and Important Film.” – Variety
“A Chilling Portrait. Explores the mind of an assassin.” – Los Angeles Times
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).
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