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Dvd online shopping on buydvds.com.au and the latest films? The systemic culture of indifference and cruelty that often forms around a powerful serial abuser gets put under the microscope in this studiously observed New York office drama, which draws inspiration from the behavior of Harvey Weinstein while intentionally blurring some of the details. We never learn the name of the tyrannical boss in the story and the exact nature of his crimes are never fully revealed; instead, Julia Garner’s assistant Jane, a Northwestern grad fresh off a handful of internships, provides our entryway into the narrative. The movie tracks her duties, tasks, and indignities over the course of a single day: She makes copies, coordinates air travel, picks up lunch orders, answers phone calls, and cleans suspicious stains off the couch. At one point, a young woman from Idaho appears at the reception desk, claims to have been flown in to start as a new assistant, and gets whisked away to a room in an expensive hotel. Jane raises the issue with an HR rep, played with smarmy menace by Succession’s Matthew Macfadyen, but her concerns are quickly battered away and turned against her. Rejecting cheap catharsis and dramatic twists, The Assistant builds its claustrophobic world through a steady accumulation of information. While some of the writing can feel too imprecise and opaque by design, Garner, who consistently steals scenes on Netflix’s Ozark, invests every hushed phone call and carefully worded email with real trepidation. She locates the terror in the drudgery of the work.

A few words about streaming services : Hulu does produce some original movies, such as Happiest Season, Palm Springs (which was nominated for a Golden Globe), and Run. Foreign films on the platform include Shoplifters and A Breath Away. Despite Hulu’s efforts, Netflix currently offers the best movie library of any of the video streaming services. A dedicated movie streaming service offers more for cinephiles. For instance, The Criterion Channel’s and Mubi’s film libraries are much more substantial and heavily curated. Hulu’s documentary section features a lot of celebrity biopics; from The Beatles to B.B. King, there are documentaries about the life and times of many beloved musicians. Fashion documentaries on the service include The First Monday in May, Dior and I, Diana Vreeland: The Eye Has to Travel, and McQueen. Outdoors enthusiasts should check out Free Solo, the mountain-climbing documentary featuring fearless free solo climbers and sweeping shots of impossibly high cliffs.

Dramas don’t come much bleaker than Beanpole, director Kantemir Balagov’s wrenching story about the damage caused by war, and the exceedingly high cost of survival. In a 1945 Leningrad still recovering from the end of WWII, lanky Iya (Viktoria Miroshnichenko), aka “Beanpole,” works as a nurse even though her military service has left her with a condition in which she becomes temporarily frozen. Iya cares for Pashka (Timofey Glazkov), the young son of her frontlines friend Masha (Vasilisa Perelygina), and when Masha appears to reclaim her child – only to learn of an unthinkable tragedy – their relationship buckles under the weight of grief, guilt, regret, resentment and need. Cruel blackmail soon proves to be Masha’s means of coping with loss, but healing is in short supply in this ravaged milieu. Shot in alternately tremulous and composed handheld, director Balagov’s long takes place a premium on close-ups, the better to convey the dizzying anguish of his subjects, who are as decimated as their environment. Overpoweringly desolate and moving, it’s a vision of paralyzing individual, and national, PTSD – and, ultimately, of women banding together to forge a new future. See extra information at https://www.buydvds.com.au/buy-australia-dvd/buy-the-witcher-season-1-dvd-in-australia/.

The rhythms of Kelly Reichardt’s hardscrabble 19th-century Pacific Northwest frontier drama are idiosyncratic if not inscrutable, which is why you’re unprepared for sudden revelations or flashes of connection. Her focus (after some throat-clearing) is the bond between two criminally endearing men: a mild-mannered baker (John Magaro) and an enterprising Chinese immigrant (Orion Lee), who hatches a plan to squeeze milk every night from the region’s lone bovine (owned by the county’s wealthiest man). The doughnuts they fry up make them gobs of money while leaving them open to mob justice, and you’re torn between elation (take that, rich ass!) and dread. It opens with a line from Blake: “The bird, a nest, the spider, a web, man friendship” — an assertion that home isn’t a place or thing but a connection to someone not you. This haunting movie transports you to another world — and redefines home.

Czech artist Barbora Kysilkova responded to the theft of two prized paintings by befriending Karl-Bertil Nordland, the drugged-out gangster behind the crime. Benjamin Ree’s intriguing The Painter and the Thief tells the tale of their unlikely relationship from both of their perspectives, charting its ups and downs with formal astuteness and inviting intimacy. Beginning with Kysilkova’s decision to paint Nordland’s portrait (peaking with one of the year’s most stunning scenes), their bond is forged by underlying similarities: traumatic and abusive pasts, as well as their habit of risking their lives for their addictions – in his case, drugs; in hers, painting. Ree reveals such connections through subtle juxtapositions that emerge naturally from his subjects’ day-to-day travails, which eventually involve financial hardships and a near-fatal car crash for Nordland. In private moments alone and between the two, the director illustrates how the act of seeing each other – truly, and without prejudice – is key to their shared affection, thereby turning his documentary into a tribute to the transformative power of empathy. Read additional info on https://www.buydvds.com.au/.