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, is electric.
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A review of Pakistani director Usman Riaz’s gorgeous animated feature The Glassworker. While The Glassworker doesn’t quite stick its landing, it’s a very good movie on its own and as an homage to Miyazaki and his peers. 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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Each year, Austin Film Society brings the best of nonfiction cinema from across the world to our city for the annual Doc Days film festival.
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Arrest 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.
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Bunny (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.
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Despite the occasional lapse in focus, Spreadsheet Champions offers a fascinating look at an under-discussed subculture.
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It’s that time of year again: the Hyperreal Film Journal crew is hitting the town for the 2025 SXSW Film Festival.
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As 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.
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HFC 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.
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At Sundance 2025, Sorry, Baby is just the kind of independent debut you hope to uncover.
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Brit 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.
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In 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.
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Train 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.
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Touch 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.
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In 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.
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In her new film Sugar Babies, which premiered at Sundance Film Festival, Rachel Fleit charts the trajectory of a TikTok sugar baby influencer.
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Next 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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BORDERS|NO BORDERS is the short film competition hosted by Houston Cinema Arts Festival 2024.
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