Sentimental Value, apart from the heartwrenching family dynamics of grief and trauma on display, reads like a love letter to cinema — but by the time the credits roll, we realize it’s actually a eulogy.
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The motorcyclist passes the car, which holds Colin (Harry Melling), a backseat passenger in the vehicle and in his own life, already a pillion before he ever touches a bike. This is the first time that Colin has laid eyes on the driver, Ray (Alexander Skarsgård), but it will hardly be the last.
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This week in Austin screenings 2/13-2/19.
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The Name of the Rose’s status as an arthouse mystery remains firmly intact. Annaud’s masterful direction of the medieval atmosphere and its commanding performances are central to its legacy.
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This classic absolutely deserved its win for Best Foreign Language film at the 1965 Academy Awards.
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In Father Mother Sister Brother, the first film from Jim Jarmusch in over six years, Jarmusch explores this world of, as Tom Waits puts it, “family relations” and how the secrets we keep to ourselves have the power to shape an entire family’s identity as much so as the things we reveal.
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“Wuthering Heights” includes plenty of bodice-ripping romance on the foggy moors, but its overall affect resembles Sofia Coppola’s Marie Antoinette curdled into a horny, death-haunted nightmare.
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he Moment gives an inside look into what goes on while an artist is trying to figure themselves out under massive scrutiny.
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This week in Austin screenings 2/6-2/12.
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Ultimately, the visuals are the saving grace here because the script is weak even by anime standards.
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At its heart, Shelter is a tale of an older man protecting a young girl, and that connection shines.
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A new series from Austin Film Society, “Nico/Garrel: White Light Lays Above,” explores the artistic collaboration between French New Wave outlaw Philippe Garrel and his muse Nico throughout the 1970s.
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Interview with our Hyperreal Spelling Bee winner, Kayla Oliver.
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This week in Austin screenings 1/30-2/6.
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Movies are often described as having dream logic or otherwise being dreamlike, and this truly feels like a dream.
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Who Killed Teddy Bear? is a seemingly salacious examination of human perversity, but there is room here for something more nuanced, thanks to performances that elevate the material.
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The Apple is a campy, blast from the past, borderline hippie propaganda mess that I couldn’t look away from and a not-so-genius product of its time.
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It’s hard to beat Raimi even when you’re Raimi himself, but that doesn’t mean that Send Help isn’t going to be a blast to watch in a theater with a crowd squealing at its bleakly hilarious sequences.
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Despite being in the public domain, Spider Baby is best shared with a whole room filled with friends and strangers, a communal experience in beautiful weirdness before its time. It’s almost like Jack Hill dared to ask the question: What if the Addams Family were as dangerous as they were lovable?
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Surfer, Dude is tonally deranged, structurally unfocused, and difficult to fully comprehend… but, the vibes were good.
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