In River, Junta Yamaguchi finds an emotional core to transform his ambitious two-minute-long gimmicks into a sincerely touching story of love, loss, regret, and professionalism.
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Say a blasphemous prayer, raise your gaze to the night sky, and rejoice. With the Fantastic Fest premiere of AGFA’s new restoration, one of American horror’s most stunning and unsettling works finally shines in all its gloomy glory.
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Wes Anderson’s collection of shorts for Netflix showcase a refusal to grow complacent in his style, as he ever expands his bag of tricks.
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In Bark, German director Marc Schölermann pushes the micro-genre's tradition of tight corners and a locked door into the outdoors—specifically a wide-open forest. Nolan Bentley (Michael Weston) wakes up with his hands tied behind a tree, his memories hazy, and his business suit attire decidedly not suited for the outdoors. Soon, an outdoorsman (A.J. Buckley) arrives, seemingly uninterested in either helping or harming Nolan.
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In this month’s alternate calendar, the Hyperreal Film Club community offers pairings of acid Westerns spanning continents, subversive exploitation films, and more.
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This week in Austin screenings 9/29-10/5
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The People’s Joker is a remarkably sincere, explicitly trans, and, in Drew’s words, “very autobiographical” story about coming into one’s own gender identity, lovingly mapped to and enhanced by parody of a property which has always had queer meaning bubbling beneath the surface.
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You’ll Never Find Me morphs into a cat-and-mouse game with visual tricks and slow-burn dread.
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Bertrand Mandico’s Conann takes viewers on an era-spanning wild ride with unforgettable imagery.
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The Coffee Table offers an interesting look into the story of a family falling apart brought on by tragedy and secrets. The bones are there, and when the movie is on it’s a force to be reckoned with, unfortunately it’s a bit dragged down by a second act that lingers, but gets reigned back in with a thrilling and nail biting third act.
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A day in the life of a serial killer in a non-stop gut rush thriller full of gnarly surprises.
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Tiger Stripes is an entrancing tale of a young girl’s rejection of her community’s demand that she shed her nature and turn inward. It is a call to feral womanhood.
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V/H/S/85 is a return to form for the franchise that feels like a warm, viscera covered hug from an old friend
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Pet Sematary: Bloodlines strains against carrying the weight of an accidental franchise despite new flourishes from director Lindsey Anderson Beer.
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Fantastic Fest 2023 is here and Justin Norris was able to catch Baby Assassins 2 Babies, the second entry of the Baby Assassins franchise. Does the movie have the madcap energy and tongue-in-check humor promised by the title? Keep reading.
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This Week in (Non-FF) Austin Screenings 9/22-9/28.
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Coming from a background in mostly commercial work, shorts, and only one other feature length, Al Warren manages to take the spirit, fun, and headaches of indie filmmaking and puts them on the big screen with Dogleg. The film is a testament to trusting: The process, the people you create with, and that bad days don’t last forever.
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Our resident tastemaker, James McDonald, takes a quick detour from his usual roundup of the best screenings to catch in Austin every week to offer a roundup of some of the best and most interesting screenings you can catch at Fantastic Fest 2023.
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The way I see it, the filmmakers better be working their ass off for my fifteen bucks. Wife-and-husband team Hélène Cattet and Bruno Forzani are certainly either working their asses off or have sold their souls to Satan to create something this entertaining.
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It’s got a little Gentlemen Prefer Blondes, a little Austin Powers, and a lot of the Rock Hudson-Doris Day led rom-coms of the ‘50s, particularly Lover Come Back and Pillow Talk. The film’s influences are so clear it could be hard to see if it's giving viewers anything new, but Peyton Reed offers a homage to the greats of the genre’s past while poking fun at its historical gender politics and upending the status quo.
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