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In Mistress Dispeller, Elizabeth Lo’s (罗宝) second documentary feature, the camera feels almost absent, disappeared in the way of a narrative film. It’s a documentary shot like a romantic drama, specifically evoking the dreamy, languid camera most associated with slow cinema.
Read MoreOver seven years and multiple visits, Singh filmed the documentary And, Towards Happy Alleys, which screened in April as part of Austin’s 2025 Indie Meme Festival. It’s electric.
Read MoreWhile The Glassworker doesn’t quite stick its landing, it’s thoughtful, thorny, and willing to ride ambiguities and uncertainties.
Read MoreWith SXSW ‘25 in the rearview mirror, here’s the full rundown of our coverage.
Read MoreStarted in 2016 by co-founders Dave Cebrero, Pedro Rivas, and David Cortez, the Houston Latino Film Festival offers an eclectic selection of films.
Read MoreEach year, Austin Film Society brings the best of nonfiction cinema from across the world to our city for the annual Doc Days film festival.
Read MoreArrest The Midwife is a powerful reminder that we are all we have, that our similarities are more striking than our differences, and that the people we’ve helped can and will go on to help others.
Read MoreBunny (Mo Stark, also co-writer), the titular lead of the dramedy Bunny, which premiered at SXSW 2025, is the sort of guy you’d want for a neighbor.
Read MoreDespite the occasional lapse in focus, Spreadsheet Champions offers a fascinating look at an under-discussed subculture.
Read MoreIt’s that time of year again: the Hyperreal Film Journal crew is hitting the town for the 2025 SXSW Film Festival.
Read MoreAs part of our coverage of Animation First Festival 2025, which celebrates Francophone film, we took a look at the second of their two short film programs.
Read MoreHFC sat down with Momoko Seto at Animation First Festival ‘25 to discuss her debut Dandelion’s Odyssey, her unique approach to filmmaking, and the beauty of rot.
Read MoreAt Sundance 2025, Sorry, Baby is just the kind of independent debut you hope to uncover.
Read MoreBrit Chainey’s Rabbit Trap, which premiered at Sundance Film Festival, tries to capitalize on the wild and weird beauty of Wales to create a folk horror story with a strong emotional tenor. But clever visual tricks and an evocative setting can’t save Rabbit Trap from its own incoherent plot.
Read MoreIn her directorial debut Seeds, which won the Sundance Grand Jury Prize for U.S. Documentary, Brittany Shyne offers an intimate look at the fate of Black farmers in the American South. Shooting in black-and-white with a single-minded focus on her subjects, Shyne creates what feels like an elegy for a way of living on the brink of dying out.
Read MoreTrain Dreams breathes life into ordinary moments that make up the meaning of one’s life. It’s a welcome reminder during these all too chaotic times, that the journey is not marked by the memories we often think it will be.
Read MoreTouch Me is for the weirdos who want to be shocked and confronted with a deliciously campy, sensory overload fever dream that happens to include a few hentai scenes. Oh, and it’s a very horny movie.
Read MoreIn her directorial debut Oh, Hi!—which premiered this year at Sundance Film Festival—Sophie Brooks takes the decline of modern dating and mixes it up in a frothy rom-com.
Read MoreIn her new film Sugar Babies, which premiered at Sundance Film Festival, Rachel Fleit charts the trajectory of a TikTok sugar baby influencer.
Read MoreNext week, two Hyperreal Film Journal writers will pack their parkas and snow boots and jet off to Park City, Utah, for the 2025 Sundance Film Festival. Our editor-in-chief Alix Mammina and staff writer Andy Volk share their top picks to catch, whether you’re braving the cold in-person or checking in for online screenings.
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