Summer Movie Preview: 2. Indie Films and Festival Favorites to See This Season. Summer Movie Preview: 2. Indie Films and Festival Favorites to See This Season. All this week, Indiewire will be rolling out our annual Summer Preview, including offerings that span genres, a close examination of various trends and special attention to all the new movies you need to get through a jam- packed summer movie- going season. Watch Patton Tube Free more. Check back every day for a new look at the best the season has to offer, and clear your schedule, because we’re going to fill it right up.

READ MORE: Indiewire’s Complete 2. Summer Movie Preview“A Bigger Splash,” May 4.

1. An independent video game (commonly referred to as an indie game) is a video game that is often created without the financial support of a publisher, although some.
2. All this week, Indiewire will be rolling out our annual Summer Preview, including offerings that span genres, a close examination of various trends and special.
3. An independent film, independent movie, indie film or indie movie is a feature film that is produced outside the major film studio system, in addition to being.

Scan lines and VHS winding noises greet you when you boot up Morph Girl. Inspired by Japanese horror and games like Firewatch, Morph Girl is a very interesting indie.

Tilda Swinton as an aging rock goddess whose idyllic vacation is interrupted by the sudden arrival of her former flame, played by a bonkers Ralph Fiennes. Need we really say more? Reuniting once again with frequent artistic collaborator Luca Guadagnino, Swinton swings for the fences in one of her most internal performances to date. The last time the pair teamed up it was for the remarkable “I Am Love,” but “A Bigger Splash” finds them operating in an infectious free- spirited fashion. The drama was well- received at Venice last year, and with juicy supporting turns by Dakota Johnson and Matthias Schoenaerts, “Splash” will be the perfect way to kick off the indie summer movie season. Zack Sharf“Money Monster,” May 1.

Jodie Foster’s thriller stars George Clooney as a Jim Cramer- like TV stock adviser taken hostage by a viewer who lost money on a bad tip. It’s been five years since Foster directed her last feature, “The Beaver” (though she’s dabbled in television, including an episode of “Orange is the New Black”). While “Beaver” wasn’t everybody’s favorite crazy Mel Gibson movie, it showcased Foster’s serious attempts to play with genre and blend a serious tone with outrageous circumstances, something that seems to be a pattern based on the focus here. Clooney’s an ideal fit for this kind of real world commentary on our financially desperate times, which suggests this 2. Cannes entry might be a terrific showcase for movie stars both in front of and behind the camera. Eric Kohn“Dheepan,” May 6 (NYC) and May 1.

LA)The Palme d’Or- winner from last year’s Cannes Film Festival, this dramatic thriller from the great French director Jacques Audiard (“A Prophet”) is terrific summer counter- programming: It’s a diverse story about an ex- Tamil Tiger soldier from Sri Lanka (Jesuthasan Antonythasan, in a remarkably subtle turn) who makes his way to Paris with two young women, posing with them as a family in order to secure their employment. While this set- up is enough to merge the suspenseful narrative with kitchen sink realism, Audiard goes one step further, pushing his protagonist into “Taxi Driver”- level intensity for the action- filled climax. - EK“Last Days in the Desert,” May 1.

The War Game is a fictional, worst-case-scenario docu-drama about nuclear war and its aftermath in and around a typical English city. Although it won an Oscar for.

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Following in the footsteps of Christian Bale, Willem Dafoe and Jim Caviezel, Ewan Mc. Gregor brings Jesus back to the big screen in “Last Days in the Desert.” The film premiered all the way back at the 2.

Sundance Film Festival, and while the delay in release might be a shaky sign, the film’s ambitious premise and reliably stunning cinematography from Emmanuel Lubezki are too enticing to ignore. As directed by “Albert Nobbs” helmer Rodrigo Garcia, “Last Days” finds Jesus wandering the desert and encountering the Devil, also played by Mc. Gregor. It’s a dual performance we can’t wait to see unfold.

Tye Sheridan and Ciaran Hinds co- star. - ZS“The Lobster,” May 1. It’s been a wild ride to release for Yorgos Lanthimos’ critically acclaimed satire “The Lobster.” The film was one of the biggest festival darlings last year – premiering in Cannes to enthusiastic raves and earning more acclaim at NYFF and others – but its distribution plan was put into jeopardy when Alchemy was forced to sell it. Luckily, A2. 4 stepped up to release what is surely one of the best indies of the summer. Set in a future where society highly values relationships, the film stars Colin Farrell as an architect who checks into a hotel after his wife leaves him. The hotel acts as a twisted dating service, where guests have 4. John C. Reilly, Rachel Weisz, Ben Whishaw, Olivia Colman and Lea Seydoux co- star.

ZS“Love & Friendship,” May 1. As twin observers of the minutiae- laden drama of sophisticated life, Whit Stillman and Jane Austen are natural artistic bedfellows.

One of the joys of this year’s Sundance Film Festival was watching Stillman take the unfinished Austen novella “Lady Susan” and fashion his resultant screenplay into a comedic scythe. Where previous Austen adaptations have tangentially addressed the comedy of manners DNA of the author’s works, Stillman brings a delightful ruthfulness to skewering the mores of the late 1. Kate Beckinsale is masterful as the novella’s title character, a Georgian- era string- puller taking immense pleasure in bending entire estates worth of socialites to her will. The supporting cast (including Chloe Sevigny and Stephen Fry) is unformly solid, but the other standout is the uproariously funny Tom Bennett, who delivers a masterclass in comedic timing. - Steve Greene“Sunset Song,” May 1. A new film from English auteur Terence Davies (“The Long Day Closes”) is always a cause for celebration, and that’s especially true of “Sunset Song,” the filmmaker’s long long- awaited passion project.

Adapted from Lewis Grassic Gibbon’s 1. World War I, this beautifully bucolic melodrama stars Agyness Deyn (“Clash of the Titans”) as a Scottish farm girl who’s torn between the history of her homeland and the hope of a distant future. Gibbon and Davies are a match made in heaven, and Deyn — who’s had a tough go of transitioning from the fashion runway to the screen — delivers a breakout performance for the ages. - David Ehrlich“Holy Hell,” May 2. Will Allen’s eye- opening cult documentary was one of the buzziest non- fiction features to hit Sundance earlier this year, and now audiences will be able to see what all the fuss was about this summer. The doc chronicles Allen’s 2. California named Buddha Field.

The director recorded his entire experience and kept himself hidden as the director in order to stay clear of potential interference from the cult. Through interviews with ex- members, he offers up a look into the extreme ideals of this society and exposes the cracks that begin to unfold as trust is turned into paranoia and dark truths are revealed about their enlightened leader. ZS“Maggie’s Plan,” May 2.

Greta Gerwig already has this charming indie rom- com thing on lock, but her role in Rebecca Miller’s frequent fest- player allows her the chance to mix things up a bit in what seems like a comfortable venue. As the eponymous Maggie, Gerwig falls in love with a charmer played by Ethan Hawke, and while she initially seems put off by the fact he’s married (to Julianne Moore, no less), the two end up together. And no, that’s not a spoiler, because that’s just the start of a funny, flinty comedy that subverts expected tropes at every turn and allows its starry cast to really shine in an offbeat take on the genre. - Kate Erbland“Weiner,” May 2.

Pick any vehicular analogy you want for the career decline of politician Anthony Weiner: Slow- motion car crash, inverse roller coaster, derailed train engine. What makes Elyse Steinberg and Josh Kriegman’s documentary compelling is its ability to capture (and in some ways recreate) the aura of invicibility that armchair psychologists might blame for Weiner’s downfall.