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Mubi has announced its lineup of streaming offerings for next month, including an epic six-film series dedicated to the brand new restorations of the films of Nina Menkes. The slate also includes a Brian De Palma double bill with Obsession and Body Double as well as Paul Schrader’s Hardcore.

Additional highlights include the Andrea Riseborough-led Please Baby Please, three films by Eugene Kotlyarenko, a Ghost in the Shell double bill, and, ahead of their release of Passages later this year, Ira Sach’s Little Men.

Check out the lineup below and get 30 days free here.

March 1 – Glass Life, directed by Sara Cwynar | Brief Encounters

March 2 – The Great Sadness of Zohara, directed by Nina Menkes | Phantom Cinema: The Films of Nina Menkes

March 3 – Please Baby Please, directed by Amanda Kramer | Mubi Spotlight

March 4 – Hardcore, directed by Paul Schrader

March 5 – Kedi, directed by Ceyda Torun

March 6 – Magdalena Viraga, directed by...

For Canadian filmmaker Joële Walinga, the unique doc “Self Portrait,” built entirely from publicly available surveillance footage collected from around the globe, began as a bit of an obsession, she says.

Screened in the main competition at the Ji.hlava International Documentary Film Festival, the often-ironic film, which raises intriguing questions about how (and by whom) we are all being recorded and documented, was put together from video files gathered for years, says Walinga.

“I had stumbled on the information some time four or five years ago that there were thousands of unlocked surveillance cameras from all over the world that could be accessed on the Internet,” she recalls.

“Basically, if a camera is either meant to be accessible to the public, or if the owner forgot to set a password on it, I would be able to view it by searching the correct IP address. It was so thrilling...

Ji.hlava Intl. Documentary Film Festival, which runs Oct. 25-30, has unveiled Opus Bonum, its international competition section. The 16-strong lineup includes eight world premieres.

Andrea Kleine’s “The End Is Not What I Thought It Would Be,” from the U.S., is set during the pandemic. Kleine, the author of novels “Calf” and “Eden,” is seen performing stand-up comedy, monologues and music in a theater without an audience.

Emily Allen’s U.S. film “Cisco Kid” features a young woman living in the middle of a vast desert in the American West, in the ruins of a town where the last of the oddball inhabitants struggle to survive.

Canada’s “Bloom” by Fanie Pelletier follows three groups of adolescent girlfriends from Quebec, who are going through tough changes in their lives as captured through the videos they post online.

Croatia’s “Deserters,” from director Damir Markovina, looks at the...

In-person festival to run in Austin, Texas, from March 11-20.

A starry SXSW 2022 film line-up announced on Wednesday (2) includes world premieres of new work from Antonia Campbell-Hughes, Richard Linklater and Nicolas Cage, among many others.

The Austin, Texas, festival ran online editions over the past two years and is planned to take place from March 11-20 as an in-person event against a backdrop of declining Omicron infection levels across the United States.

The roster includes Irish filmmaker and actor Campbell-Hughes’s It Is In Us All (pictured) in Narrative Feature Competition starring Cosmo Jarvis, Claes Bang and Campbell-Hughes about a...

How does one wait for a miracle? Is there even a how, or, like, the faith it presupposes, is it something that must simply be allowed to exist, to be? One can only wait by waiting. Joële Walinga shapes her film to the contours of waiting, to her mother’s – Renée Davies – bold faith in God’s providence while battling cancer, and to her own part in watching and waiting and simply being, alongside her mother. Although it would presumably make for a natural narrative, God Straightens Legs is uninterested in proselytizing for or against miracles, and less so in arguing about theodicy. It’s a relief that the film eschews a dry approach to these ideas in favour of a more quotidian focus, placing the...

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