The following films are all concerned with forces that exist beyond the scope of their narratives.
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Black Bag, Steven Soderbergh’s 36th feature, sees the director return to the thrills and sex appeal of his ‘90s output. Anchored by performances from Michael Fassbender and Cate Blanchett as George Woodhouse and Kathryn St. Jean—two top intelligence agents whose rock-solid marriage is as infamous in British espionage circles as Kim Philby —the film is as much about what makes a healthy relationship as it is any geopolitical intrigue.
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In Glorious Summer, co-directors Helena Ganjalyan and Bartosz Szpak craft an ethereal vehicle to examine the pitfalls of blissful ignorance.
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ASCO: Without Permission centers the revolutionary art collective and its cultural impact.
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The Rivals of Amziah King is one of the most strangely-paced films and thematically-incohesive films I’ve ever seen. That’s both to its benefit and its greatest flaw.
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The Python Hunt expertly delivers on its promises of humor and human interest.
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Shuffle adeptly straddles the line between documentarian and subject while uncovering a deep web of fraud and scams at the heart of addiction treatment.
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Where some stories of addiction slip into melodrama and misery, Surviving Earth shows the reality of sobriety as a choice that’s made every single day.
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With due respect paid, O’Dessa is awful.
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LifeHack is a good heist film, a good coming-of-age film, and a skillful deployment of screenlife as a storytelling technique.
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The Infinite Husk falters under the weight of its big philosophical ambitions, leaning too far into the pessimism of the human condition without actually exploring what it means to live and move through the world’s structures.
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Following its first screening, Nirvanna the Band the Show the Movie proved itself as the SXSW breakout of the year, with the word-of-mouth buzz resulting in a frenzy around the film’s second showtime.
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Friendship, which had its Texas Premiere at SXSW in 2025, is all about the strange amorphous heartbreak when a (mostly) heterosexual male friendship is ended. It’s also about star Tim Robinson continuing his streak of ego-less humiliation comedy in which half the joke is that he’s willing to act like that.
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Slanted does well to avoid the pitfall of many modern satires by avoiding an explicit morality tale or an ending that ties everything up with a bow and a preachy monologue.
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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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The Trip can be enjoyed because we should be able to enjoy a film for exactly what films are at their core: visually stimulating moving pictures that we resonate with.
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Before Eyes of Fire almost became a forgotten piece of occult Vestron Video ephemera, some of the Southern U.S. populace got their minds fried in a theater by what has since become recognized as a cornerstone in the nature-is-out-to-kill-us genre.
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A classic riff on The Dirty Dozen, the film follows a ragtag group of undocumented Chinese-Americans who are offered US citizenship in exchange for dropping into the jungle to destroy a cache of American weapons before the Viet Cong can find them.
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The Brother from Another Planet is John Sayles’ socially-conscious science fiction tale of immigration and citizenship status.
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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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