Primetime is a fascinating and fantastical retelling of the making of a show that leaves a queasy feeling in the stomach of so many viewers.
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Fantastic Fest is back, which means the best time of the year for genre filmmaking is upon us once again. I’m here to give you the full rundown of the ones that have me the most excited from a festival full of surprises, premieres, and potential favorites.
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Director Michal Marczak shoots the film with such a tenderness and intimacy that the audience feels like they are right on the river with these two men, forever searching for something to bring the titular “closure” its subject Daniel Dymiński so desperately needs.
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Though An Unquiet Mind cites data about OCD’s prevalence and impact throughout its runtime, it wisely makes the realities of OCD personal by focusing on the lived experiences of two people with the disorder.
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Fans of campy, sexy, offbeat grassroots cinema won’t want to miss this splashy, confident debut feature.
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We all know that feeling you get when you leave a film so good you want to change your entire personality or even pick up a bold sign and protest. I felt that more than once this Sundance.
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A hilarious and hyperbolic analysis of modern dating, female friendships, and self discovery.
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Blake Williams interviews Charlie Tyrell, one half of the directing team behind The AI Doc (or How I Became An Apocaloptimist) about the filmmaking process, apocaloptimism, and creative balance.
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Alex Prager’s DreamQuil is a tonally confused and mostly incoherent movie buckling under the weight of its ideas.
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Ready or Not 2: Here I Come aims to be bigger and bolder, but a suite of new characters are no match for its dumbed-down script.
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At SXSW, Hyperreal’s Hannah Dubbe had the opportunity to sit down with Ayden Mayeri to talk about her documentary Summer 2000: The X-Cetra Story, the album, baby-boomers, and future plans for X-Cetra.
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In advance of its 2026 World Premiere at SXSW, Hyperreal Film Journal staff writer Ziah Grace sat down with writer/director Eric Jackowitz to talk about his giallo parody The Seeing Eye Dog Who Saw Too Much.
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Director Sam Green’s latest film, named after the Guinness World Record designation, follows several of the title holders of this ephemeral honor.
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Each year, our team of Hyperreal Film Journal writers takes to the streets (and movie theaters) of Austin to cover the SXSW Film Festival. Here’s what’s on our can’t-miss radar.
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In Sundance documentary Public Access, from filmmaker David Shadrack Smith, we learn about the history of New York City’s Manhattan Cable Television.
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Ann Marie Allison’s You’re Dating a Narcissist! whiplashes between being an effective and affecting exploration of parenting after your children reach adulthood at its best and too-broad and surprisingly poorly made at its worst. And Daniel Roebuck’s Tuesday’s Flu, a well-acted crime story and character study that never rises above “ok.”
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The Wasps feels like a comedy that the sickos have been yearning for: a truly absurdist film that places comedy above all else.
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Today we sat down with Jake Binstock, Parker Rouse, and Andrew Caplan, the co-directors and producers of The Wasps.
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Yeon Sang-ho’s quietest horror is his most human.
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We sat down to talk to Julian Castronovo, the star, writer, and director of the film Debut, or, Objects of the Field of Debris as Currently Catalogued. One of the most standout and spectacular films I have seen this year, perhaps even in the last decade.
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