Ahead of this year’s Austin Film Festival, take a look at the feature films and documentaries our Hyperreal Film Journal writers can’t wait to see.
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Simply put, watching Angel’s Egg in the quality it deserves has been a significant challenge for decades outside of Japan. Having the opportunity to see a 4K restoration of Angel’s Egg in a movie theater, at Fantastic Fest no less, is a dream come true.
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Though buoyed by strong performances and a sustained sense of tension, Aneil Karia’s hollowed-out adaptation struggles under the weight of its legacy.
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Joachim Trier’s latest is a success in creating an intergenerational story of art and personal history.
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By positioning Videoheaven as both a cinematic essay and an archive, Alex Ross Perry ensures that the memory of video stores won’t just fade into nostalgia, but remain available for future generations to discover.
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From secret screenings to off-the-wall showings, Fantastic Fest has a little something for everyone.
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With the summer coming to an end and temperatures coming down, fall is officially on the horizon. While many people are preparing for football season, us cinephiles are preparing for a different season: the fall film festivals.
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This year’s Toronto International Film Festival will premiere over 300 movies from debut directors and established auteurs like Guillermo del Toro, Chloé Zhao, Park Chan-wook and Claire Denis.
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Director duo Raitis and Lauris Abele, brothers, explore the dichotomy between the church and the tavern as two separate houses of gluttony, the most underrated of the seven deadly sins.
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Animals in War is an anthology of seven short films credited to Myroslav Slaboshpytskyi.
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Agent of Happiness (2024), which screened at Indie Meme Fest 2025 takes place in Bhutan, a beautiful, small country with a unique policy: collecting and analyzing data on the happiness of its people.
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What does it mean that the industry of death photography is itself dying? Madan and Lahiri offer a wonderfully Asian response: Absolutely nothing.
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Sad Letters of an Imaginary Woman is a psychological horror at the level of identity, and part of a powerful wave of tense, feminist indie horror in South Asian cinema.
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Death is an inevitability, Alexis Franco affirms in his documentary Donde Los Árboles Dan Carne (Where the Trees Bear Meat). Shown during Austin Film Society’s annual Doc Days, Franco’s film is an intimately quiet portrait of the modern Argentine gaucho shaped by the slow destruction of climate change.
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Regardless of your relationship with the 90s, you will feel nostalgic for your own youth while watching Middletown, the third directorial collaboration between spouses Amanda McBaine and Jesse Moss, following the lauded Boys State (2020) and Girls State (2024).
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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.
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Over 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.
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While The Glassworker doesn’t quite stick its landing, it’s thoughtful, thorny, and willing to ride ambiguities and uncertainties.
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With SXSW ‘25 in the rearview mirror, here’s the full rundown of our coverage.
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Started in 2016 by co-founders Dave Cebrero, Pedro Rivas, and David Cortez, the Houston Latino Film Festival offers an eclectic selection of films.
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