Union, which had its Texas premiere at the Austin Film Society’s Doc Days festival on May Day, takes us back to one of the first beacons of hope in the current unionizing moment.
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Told exclusively through iPhone footage, laptop cameras, and text exchanges, Patricia Franquesa’s My Sextortion Diary plays out more like a thriller more akin to films like Missing, Searching, and UnFriended than the traditional talking head documentary.
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The first feature-length film from Rocket Jump (Freddie Wong and Matthew Arnold), We’re All Gonna Die has some rough edges but is at its greatest when it finds the balance between emotional and comedic.
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Sing Sing is a magician’s best trick from a filmmaker still early in his career.
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In La Chimera, Rohrwacher delicately crafts a moving romantic tale of magical realism, entwining the immortal and mortal spheres, and those who find themselves stuck on either side.
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It is all the more surprising then, when Sam and Mark stumble upon an empty amphitheater in Los Santos. Almost certainly, the game designers were thinking of a concert space in this moment of world building, but Sam and Mark immediately see it for its theatrical potential. They hop their Ed Hardy-clothed avatars upon the stage and begin reciting Shakespeare. It doesn’t take long for one of them to suggest the loftiest of side missions: staging a production of Hamlet within the world of Grand Theft Auto.
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Secret Mall Apartment could easily have been a straightforward hagiography of a generous, interesting artist who also lived in the walls of a mall, but director Jeremy Workman never lets the catchy hook get in the way of the larger story.
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Made by anarchist gay author James Robert Baker (as James Dillinger) for less than $2,000 as part of the EZTV collective—a digital art and video collective based in Los Angeles since 1983—Blonde Death follows innocent Mississippi teen Tammy Lynn Beaudorf on a journey of bisexual corruption and violent rampage.
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Civil War proves that Alex Garland still has some gas in the tank, exploring the morality of the media’s relationship with war while still holding the press in deep reverence.
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BloodSisters is even more appreciable as a portrait of queer identity, diving deep into the intricacies of solidarity and sexual pleasure simply by allowing its subjects to speak for themselves.
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You can feel the passion oozing off of Monkey Man. Patel went away to iron out every detail, to the point where it feels like you can see the movie playing in his head. The stylish action sequences are bolstered by a killer score from Jed Kurzel that thumps along to each and every hit.
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Head takes the silliness of The Monkees sitcom and dials it up to surrealist heights.
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From its opening moment, unconventionally non-cinematic, director Jonathan Glazer announces the psychic essence of The Zone of Interest, one structured by its absences and what it decides not to show us.
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The Promised Land is a reminder that an epic doesn’t need all the bells and whistles we have grown accustomed to—it can be about something seemingly insignificant, like a man trying to farm.
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Love Lies Bleeding is a gutsy exclamation point that doesn’t give a damn what anyone thinks of it.
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You’ll either feel I Saw the TV Glow kick you right in that soft part of your soul, or you won't.
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Desert Road, which had its world premiere at SXSW, follows Clare as she finds herself trapped next to her crashed car within walking distance from a gas station and a fenced-off factory.
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Drafthouse’s Lars Nilsen and Zane Gordon-Bouzard introduced their February 7 feature, Over The Edge, as the fifth in a series of juvenile delinquent films, an exploitation subgenre that surged in the late 70s/early 80s with films like The Warriors, Scum and the Spanish quinqui dramas but is rarely seen today.
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Boobs! Brews! Big screens! What could be more American than that? Why, worker exploitation, of course!
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Like a great magician you’d run into in a dark alley at 2 am, Cuckoo awes you with its feats of well-executed craziness.
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