While a certain Marvel blockbuster rings in the summer blockbuster season this weekend, anyone who has been in a theater or on the internet in the past year is likely well aware of the studio offerings in the next four months. So, as we do every year, we’ve rounded up a batch of must-see limited releases to keep on your radar as they hit theaters and expand throughout the summer.

With a variety of options, including festival titles from last year to 2013 Sundance, SXSW and Cannes debuts, we’ve already seen the majority of these, so be sure to read our reviews in the write-ups. A great deal will also be arriving on VOD, so make sure to check with each distributor on their release plans. See the rundown below, in chronological order, and let us know what you are most looking forward to in the comments.

Something in the Air (Olivier Assayas; May 3rd)

One of the better films I saw in 2012 — finally hitting theaters and VOD in only a matter of days — Olivier Assayas’ follow-up to the engrossing Carlos is a smaller, no less assured, more personal tale of the anxieties experienced in his own youth. A convincing rendition of period aside, Something in the Air shows his typical understanding of tone and character, most crucially in how these two are secured through his roving camera, keeping everything on its toes from start to finish. And that’s not even to mention its setpiece, a riot sequence sure to prove more thrilling than almost any showstopper studios will have spent millions on this summer season… – Nick N.

Sightseers (Ben Wheatley; May 10th)

In Ben Wheatley’s third film Sightseers, the British director, known for taking scenes of normalcy and then spiking them with extreme violence, continues his streak of creating memorable unconventional cinema. The biggest difference compared to his two previous films, Down Terrace and Kill List, is the focus on comedy — in particular, the dark kind. It’s a slightly different genre for Wheatley to explore, but he does so admirably, creating a film that is equal parts absurd as it is berserk. Read our Cannes Film Festival review. – Raffi A.

Stories We Tell (Sarah Polley; May 17th)

Sarah Polley‘s Stories We Tell is an exquisite, elegant rebuke to the standards that define so many of our most popular filmic narratives: three-act structures that begin with an inciting incident and move, breathlessly, to a cathartic climax; a lovable protagonist with an easily graspable character arc; endings that confirm the universe as a place in which change is possible, where people react to conflict and tragedy by altering their lives significantly and not by simply living through the pain, repressing it to maintain the consistency of their daily routines. The hushed, sneaky audacity of Stories We Tell lies in the fact that Polley doesn’t allow us to leave that blindness: even at the end, when it seems like the answers are there, we’re still compromised by time, memory, and perspective. Read our ND/NF review. – Danny K.

Frances Ha (Noah Baumbach; May 17th)

I can’t wait to see Noah Baumbach’s Frances Ha land on critics’ lists this year once it finally starts hitting theaters this summer. A brilliant gem shot in black and white, Baumbach’s usual egotistical offsprings of affluence and social standing have once more been molded as the flawed and endearing creatures we need them to be. Where Margot at the Wedding and to a lesser extent Greenberg found them off-putting and mean, Frances (the luminescent Greta Gerwig) and Sophie (Mickey Sumner) are accessible extensions of everyone who ever strived for more in life and love. This is the auteur I remember from The Squid and the Whale. Read our TIFF review. – Jared M.

Before Midnight (Richard Linklater; May 24th)

The perfect end to a near-perfect trilogy, Richard Linklater’s Before Midnight once again stars Ethan Hawke and Julie Delpy as Jesse and Celine, two lovers working through the dos-and-don’ts of life. If it sounds like a general description, it’s deceivingly so. These films, simple as they are, speak to many truths, painful and otherwise. Read our Sundance Film Festival review. – Dan M.

The Kings of Summer (Jordan Vogt-Roberts; May 31st)

Clearly influenced by Steven Spielberg‘s early works, with a touch of Wes Anderson, The Kings of Summer has an Amblin-esque approach that’s appreciated. The film is an examination of the seemingly eternal feeling of freedom a teenager can possess and what happens when one must face the truths of life. While it could use some tightening, it is convincing declaration that Jordan Vogt-Roberts has a style like few other directors in the genre, and one can only hope he can bring new life to Hollywood’s conventional comedic landscape. Read our Sundance Film Festival review. – Jordan R.

Much Ado About Nothing (Joss Whedon; June 7th)

That we weren’t the biggest Avengers fans is all the more reason to throw this up here. As shot in the downtime between the mega-blockbuster’s shooting and post-production — inside his own house and with a small cast of actors / personal friends — Joss Whedon’s next movie is, you could say, of a different variety than the big spectacle. While adapting Shakespeare never hurts, the use of that small location and black-and-white cinematography — both Whedon’s choice, obviously — could meld two singular voices into a combination that we’ve never exactly seen before. – Nick N.

The Bling Ring (Sofia Coppola; June 14th)

Sofia Coppola‘s latest film gives a flashy spin to the real-life events of a L.A.-based team crime ring. Perhaps what is most anticipated is Emma Watson role as a fame-obsessed teenager, leading the ring as they rob celebrities’ houses. The character represents a true departure for Watson, as she embraces a persona that is incredibly superficial, vain, and amoral, allowing audiences to see her in a grittier light. The film will also include a number of celebrity cameos, including a number of individuals whose actual homes were robbed by the real crime ring. The young crime caper will make its North American debut at the 39th Seattle International Film Festival after world-premiering at Cannes, and will then find it’s way to theaters shortly thereafter, making for a fun summer catch to keep an eye on. – Kristen C.

I’m So Excited (Pedro Almodovar; June 28th)

Following a string of strong critical successes over the 21st century, featuring dark, challenging dramas such as Bad Education and Volver, Pedro Almodóvar is returning to his comedy roots with I’m So Excited. Early reviews are not exactly awe-inspiring, but this seems to be a lighter feature in the director’s heavy oeuvre and he has always had an eye for dark humour. He certainly hasn’t lost his game, so here’s to hoping for an enjoyable feature, if not one of his most accomplished. – Jack C.

The Way, Way Back (Nat Faxon and Jim Rash; July 5th)

The Way, Way Back, written and directed by Oscar winners Nat Faxon and Jim Rash, is the kind of independent film the Sundance Film Festival has become synonymous with: a widely-appealing, coming-of-age tale that takes place amidst a flurry of familial problems and quirky characters. And though this type of description has become a stigma for many a film that has premiered in Park City, Faxon and Rash are smarter than the clichés they are utilizing in this narrative. It may not be the reinvention of the cinematic wheel, bit it knows what it is and is good at what it is doing. Read our Sundance Film Festival review. Dan M.

The Hunt (Thomas Vinterberg; July 12th)

This beautifully-crafted drama concerning a mild-mannered teacher and the life-destroying accusation dealt upon him won Mads Mikkelsen the Best Actor jury prize at Cannes. The film also marks the long-awaited return of Thomas Vinterberg, who introduced himself to the world with fervor 14 years ago with Festen (The Celebration). Perfectly paced and never striking a false note even despite its taboo subject matter, Vinterberg has built a world of observation that’s deceivingly simple and undeniably thought-provoking. Read our Cannes Film Festival review. – Dan M.

Only God Forgives (Nicolas Winding Refn; July 19th)

Coming off 2011’s Drive — a film which, so long as you were a fan to begin with, is actually better than you recall — the Winding Refn-Gosling pair headed to Thailand for a second, seemingly different tale of crime and revenge. Previews could always deceive, but what they’re selling, right now, is a trade from the Walter Hill-inspired Los Angeles bits to a dark descent into madness, complete with a lurid neon glow and a sword-wielding Thai man. The promise of brutality is nice, in its own manner, but I’m more curious about ways in which Winding Refn learned from his most controlled picture yet. – Nick N.

Fruitvale Station (Ryan Coogler; July 26th)

The major winner of Sundance Film Festival 2013, taking home both the grand jury prize and the audience award, Fruitvale Station tells the true story of the 2009 New Year’s Day BART Police shooting in Oakland, California. In his visually spare directorial debut, Ryan Coogler follows the last day in the life of Oscar Grant (played confidently by Michael B. Jordan), leading up to the emotionally-captivating event. Read our Sundance Film Festival review. – Jordan R.

Blue Jasmine (Woody Allen; July 26th)

This July sees the latest release from Woody Allen, who has been consistent in his prolificacy his entire career, for better or worse. Whilst many say that the 21st Century has seen a distinct decline in quality for Allen, recent endeavours such as Vicky Cristina Barcelona and Midnight in Paris show the neurotic comedian still has some of the acerbic wit that made him so popular. Blue Jasmine will see his first film set in America since 2009’s Whatever Works, this time in San Francisco, so expect some great shots of the Golden Gate City, as Allen is renowned for making his surroundings an integral part of the story. The film boasts a typically strong ensemble cast, featuring Alec Baldwin, Cate Blanchett, Michael Stuhlbarg, Peter Sarsgaard, Louis CK, Bobby Cannavale and Sally Hawkins.  – Jack C.

Passion (Brian De Palma; July TBD)

Ignore all that negative festival talk from September. Brian De Palma hasn’t been a mass appeal filmmaker since 1996’s Mission: Impossible, in essence because the cinematic flavor he’s offered in years since has brought the sort of off-kilter material that only appeals to niche groups. (Yes, we like Mission to Mars. And The Black Dahlia. And especially Femme Fatale.) More to the point, those of the faithful who’ve been lucky enough to see Passion express approval at this new chapter in his oeuvre, in doing so also raising enough of the auteurist-rooted terminology that nerds like myself get jazzed over. If it turns out to only be a trashy thriller with McAdams and Rapace combating each other — well, is that so bad? – Nick N.

The Spectacular Now (James Ponsoldt; Aug. 2nd)

A rare coming-of-age film, James Ponsoldt‘s The Spectacular Now doesn’t simply take a snapshot of some of the most important years of adolescence, but rather echoes the consequences of complex life-changing choices. Featuring powerhouse performances from both Miles Teller and Shailene Woodley, this must-see drama packs an emotionally devastating punch. Read our Sundance Film Festival review. – Jordan R.

Prince Avalanche (David Gordon Green; August 9th)

Despite the hilarious Pineapple Express, there’s no denying David Gordon Green has been on a downward spiral with each new step into the world of studio comedy. So it came as a wonderful surprise last summer when it was revealed he secretly shot an independent road comedy with Emile Hirsch and Paul Rudd. A remake of Iceland’s Either Way, Prince Avalanche is a welcome, charming return to form for the writer/director. Read our Sundance Film Festival review. – Jordan R.

Ain’t Them Bodies Saints (David Lowery; Aug. 16th)

With his directorial break-out David Lowery has crafted a subdued, slow-burn drama that aches with excellent performances from its ensemble, which includes Rooney Mara, Casey Affleck, Ben Foster, Nate Parker and Keith Carradine. Following the aftermath of a crime-filled life, the film skirts around the major peaks one may find in another drama of its kind, instead focusing on quiet, sublime exchanges. Read our Sundance Film Festival review. – Jordan R.

Grandmasters (Wong Kar-wai; Aug. 23rd)

Like Passion, another auteurist title that’s been getting its fair share of flack in non-theatrical showings — and, similarly, a movie whose mixed hype I will pay no attention to. A number of years after the underappreciated My Blueberry Nights, Wong Kar-wai’s first Chinese-language feature since 2004’s masterful 2046 reverts to Ashes of Time territory. In short, and ideally, this allows the filmmaker to infuse his elegant sense of space with martial arts action that proves to be unlike anything put on screen. Doubts have been raised as to whether it works this time around; partnered with Tony Leung, however, Wong has my trust and hope. – Nick N.

Drinking Buddies (Joe Swanberg; Aug. 23rd)

Best known for his fly-by-the-seat-of-your-pants filmmaking technique that has slowly grown in popularity under the “mumblecore” moniker, Joe Swanberg‘s latest project boasts his most notable ensemble yet, with Olivia Wilde, Anna Kendrick, Jake Johnson and Ron Livingston in tow. And though this style of filmmaking can sometimes have a negative connotation, here is a project that simply works well under that guise. One starts to fall for these characters and their naturalistic dialogue and connect to their drama. With a relatable scale, the plot focuses on two friends that have never explored the possibility of a relationship together – even in just a physical sense – but have sexual tension following them like a fog. Read our SXSW Film Festival review. – Bill G.

What are you watching this summer?

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