what to stream in May

Along with a drop in temperatures, May brings plenty of new streaming options, whether you’re after some classic American political drama, or some local family TV you can enjoy with the kids.

We’ve also got Timothée Chalamet’s Oscar-nominated film Marty Supreme coming to Stan, as well as a new series from Richard Gadd (of Baby Reindeer fame) on HBO Max. Sit back, grab a blanket, and enjoy.

All The President’s Men

Prime Video and Apple TV

All the President’s Men, which has just turned 50, was based on the 1974 book by journalists Bob Woodward and Carl Bernstein, who investigated the Watergate scandal for the Washington Post.

A masterpiece of political cinema, All The President’s Men remains one of the finest films about investigative journalism ever made. Steeped in a fog of paranoia and distrust – an atmosphere shaped in no small part by cinematographer Gordon Willis’ matchless treatment of light and shade – it is as relevant now as it was on first release.

Redford was the driving force behind the film. Convinced that the story demanded a restrained, quasi-documentary approach, he initially envisioned a black-and-white film shot in a pared-back style, with an emphasis on process rather than star power.

Warner Bros, with whom he had a production deal, thought otherwise. Having already agreed to finance the film, the studio insisted that Redford take a leading role – and marketed the as yet-unmade project as “the most devastating detective story” of the century.

The result is an endlessly watchable and quotable (“Follow the money”) film that generates narrative and dramatic tension through the sheer difficultly of knowing anything at all.

In age beset by disinformation, brazen political deceit, strategic obfuscation and collapsing trust in public institutions, that lesson feels less historically distant than it does disturbingly prescient.

– Alexander Howard

Read more: All The President’s Men at 50: one of the finest films about investigative journalism ever made

Caper Crew

ABC iView

The ABC’s new series Caper Crew follows 12-year-old Amelia Delaney (Isabella Zhang) and her 9-year-old brother Kai (Luka Sero), who live in Woodspring, “the most boring town on Earth”. That is, apart from one incident 27 years ago when the infamous Kangaroo Gang stole the town’s priceless golden meteorite. “The Nug” was never found, despite a $100,000 reward.

When their mysterious con-artist grandmother, Queenie, appears out of the blue and starts teaching them the art of the grift, Amelia and Kai can’t help but wonder: was Queenie part of the Kangaroo Gang? Does she know where The Nug is? The siblings join forces with their friends Penelope (Caitlin Niemotko) and Ophelbert (Tevita Hu) on a mission to find the lost object.

The young cast members are very endearing. The adults don’t disappoint, either; Tina Bursill is magnetic as Queenie, while Annie Maynard and ABC-favourite Michael Theo captivate as Mayor Katinkatonk and drama teacher Jojo Encore, respectively.

For parents and carers watching with kids, Caper Crew combines a Wes Anderson-esque visual quality with a nostalgic ode to millennial classics such as Matilda and Harriet the Spy. It may charm younger viewers into taking up magic, or planning their own heists. It also reminds us just how good Australian family TV can be, with a bit of resourcing.

– Alexa Scarlata

Read more: ABC’s Caper Crew delivers heists and heart – a bright spot in a struggling kids’ TV sector

Riot Women

SBS On Demand

“And you thought The Clash were angry!” retorts Beth (Joanna Scanlan), describing her newly-formed punk band of women largely 50 years and over.

Riot Women, a hilarious five-part BBC drama series, champions strong female characters whose dilemmas authentically reflect the female experience. The band’s tracks Hot Flush, I’m Not Done Yet, and Invisible No More counter society’s assumption that menopausal women have a use-by date.

Punk is used as a metaphor for female rampage, rather than the show’s subject – and despite some dark storylines (including suicide and violence against women), the show is a raucous celebration of women on their own terms. These women find joy and energy in mid-life, emerging as formidable because they no longer give a damn.

Riot Women is written by Sally Wainwright and co-directed by Wainwright and the late Amanda Brotchie, an enormously talented Australian director.

The outstanding ensemble cast is drawn from the crème de la crème of British talent, with Joanna Scanlan as Beth, Rosalie Craig as Kitty, Lorraine Ashbourne as Jess, Tamsin Greig as Holly, and Amelia Bullmore as Yvonne.

It’s an original, emotionally resonant and high-quality drama that, like much of Wainwright’s work, doesn’t disappoint.

– Lisa French

Marty Supreme

Stan, from May 15

Marty Supreme is a frenetic tale inspired by Marty Reisman, the charismatic American table tennis champion of the 1950s.

Charged by Timothée Chalamet’s electric lead performance – alongside a stellar supporting cast (including Gwyneth Paltrow), and director Josh Safdie’s signature, anxiety-inducing aesthetic – the film captures a young man’s all-or-nothing quest for greatness.

Marty Mauser is a morally ambiguous protagonist engaged in a sociopathic, self-obsessed pursuit of glory. But Safdie invites the audience to champion his quest. In this, Marty emerges as a particularly compelling entry into Hollywood’s longstanding tradition of unlikable heroes.

How does Safdie succeed in creating a protagonist who – despite lying that his mother died during childbirth and neglecting his pregnant girlfriend – nonetheless wins the audience’s support?

Marty’s championing is undoubtedly in part due to Chalamet’s star image and onscreen charisma. And his quest for greatness depicts the triumphant tale of a figure who, against all odds, continues to pursue his dreams with obsessive belief.

While his extreme measures may be unsympathetic – and perhaps unforgivable – Marty’s fundamental desire to transcend his circumstances remains relatable. His unrelenting commitment to his dream catalyses his moral failing. But he is nonetheless a figure capable of tenderness.

While Marty Supreme dramatises the egotistical pursuit of its flawed protagonist, it ultimately explores the universal ambition to dream big – and questions what is worth sacrificing in order to achieve success.

–Oscar Bloomfield

Read more: Antihero Marty Supreme is sociopathic in his pursuit of glory. Why do we want him to win?

Lizard

Mubi

Lizard (2020) is a Sundance-winning short film by British-Nigerian filmmaker and writer, Akinola Davies Jr. Currently streaming on Mubi, alongside Davies’ BAFTA-winning debut feature My Father’s Shadow (2025), it’s a magical and gritty portrait of religion, hypocrisy and violence.

Co-written with his brother, Wale Davies, Lizard is based on Davies Jr’s own childhood experiences. The thematically nuanced 18-minute narrative follows the inquisitive eight-year-old Juwon who, following some misbehaviour and removal from her Sunday school service, confronts the criminal underbelly of her Lagos church.

The fluidity between the real and surreal is central to Davies Jr’s cinematic imagination. Juwon is gifted with the ability to sense danger. Her mystic-like intuition materialises in the presence of the eponymous agama lizard: a figure who leads the young girl through her milieu.

The film masterfully blends elements of the fantastical with realist stylisation. It’s a portrayal of sociopolitical corruption and exploitation, but also extends beyond this. Through Juwon’s child-like imagination, it confronts the processes of understanding trauma and memory – with the film’s sensibilities questioning reality’s supposed superiority over fantasy.

Davies Jr is cementing himself as an exciting, distinctive voice in international cinema. I’m looking forward to watching My Father’s Shadow.

– Oscar Bloomfield

Half Man

HBO Max

Richard Gadd is perhaps best known for his hugely successful series, Baby Reindeer. Part of the unsettling thrill of that Emmy-award winning series was watching a dramatisation of Gadd’s own experience of being stalked. We saw a vulnerable protagonist, played by Gadd, drawn into considerably uncomfortable situations.

Now Gadd has returned to our screens with a new series called Half Man. A similar viewing experience to Baby Reindeer is established in the opening episode, where we witness a vulnerable, isolated young man get drawn into a toxic relationship. Gadd is a master at building tension and discomfort.

Niall (Jamie Bell) is visited by his estranged step-brother Ruben (Gadd) on his wedding day. After a violent confrontation, we jump back 30 years to when they were two schoolboys. Ruben has just gotten out of youth detention and, since his mother is dating and living with Niall’s mother, he has no choice but to move in and share Niall’s room.

As boys, a young Ruben (Stuart Campbell) is prone to violent outbursts at any moment, and young Niall (Mitchell Robinson) is shy and bullied by his classmates for being perceived as gay. The early dynamics between the two boys make for incredibly unsettling viewing. But knowing how good the emotional pay-off of Baby Reindeer was, I can’t wait to see where the series goes.

– Stuart Richards