This week in Austin screenings 10/30-11/05.
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The 2026 Austin Film Festival is upon us, with a mix of auteur-driven movies and new kids on the block.
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In advance of their world premiere at the Austin Film Festival, Hyperreal Film Club sat down with co-directors Matt Litwiller and Collin Davis to talk about their new film, All the Way Down.
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Schulman does well to never caricaturize the elements of modern life he’s lampooning, instead presenting them in ways immediately recognizable to the audience.
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It was an incredibly high bar to live up to, but instead of trying to make its own way and not live in its older sibling’s shadow, The Social Reckoning leads to a final product far less impressive and significantly less triumphant.
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This week in Austin screenings 10/23-10/29.
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In Pure Scum, Privilege is a Knife
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The concept of Compliance is promising on paper: A young woman’s home is found to be bugged with cameras that she never put there, and she must go on a journey to discover why any of this is going on. The execution of Compliance is a completely different story.
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Onslaught’s flaws are significant, but its successes are real. It may not have the staying power of The Guest, but it is a worthy companion piece and a fun watch on its own.
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Sometimes it’s really nice when good movies don’t make you think too much.
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This week in Austin screenings 10/16-10/22.
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Zach Cregger's run at a new Resident Evil adaptation comes perhaps the closest to nailing what a movie might feel like as a complete adaptation of a game, for good and for ill.
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Horror movies—and Jessica Rothe—took to the river at this year’s Fantastic Fest with the world premiere of Beware Boiúna and Texas premiere of the aptly named River.
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The Weight is solid, but feels like it left a few gold bars in the woods.
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This week in Austin screenings 10/9-10/15.
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Ritwik Ghatak’s Partition Trilogy (Meghe Dhaka Tara [1961], Komal Gandhar [1961] and Subarnarekha [1962] is some of the finest-ever South Asian filmmaking.
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Tackling religion, self-preservation, pandemics, PTSD, and paranoia, A Prayer for the Dying covers a lot of interesting territory in just 90-ish minutes.
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Digger, the latest from uncompromising Mexican auteur Alejandro González Iñárritu, seems purposely designed to frustrate any angle of enjoyment a casual viewer might pursue.
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One might think that having nearly thirty more years of experience as a filmmaker under his belt would lead this remake of Serpent’s Path to feel more refined and perhaps even better than the original. However, while the French version is more polished, it is the angry, messy energy that makes the original film tick.
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This week in Austin screenings 10/2-10/8.
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