Forbidden Fruits feels like an almost great teen movie.
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While Scott and Deadwyler are magnetic performers, The Saviors becomes too focused on its own plot to let the viewer engage with it as a pure character piece, but the plot is so obviously foreshadowing a twist that the film feels slow in execution.
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Ready or Not 2: Here I Come aims to be bigger and bolder, but a suite of new characters can’t save the movie from a dumbed-down script.
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At SXSW, Hyperreal’s Hannah Dubbe had the opportunity to sit down with Ayden Mayeri to talk about her documentary Summer 2000: The X-Cetra Story, the album, baby-boomers, and future plans for X-Cetra.
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In advance of its 2026 World Premiere at SXSW, Hyperreal Film Journal staff writer Ziah Grace sat down with writer/director Eric Jackowitz to talk about his giallo parody The Seeing Eye Dog Who Saw Too Much.
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Each year, our team of Hyperreal Film Journal writers takes to the streets (and movie theaters) of Austin to cover the SXSW Film Festival. Here’s what’s on our can’t-miss radar.
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With SXSW ‘25 in the rearview mirror, here’s the full rundown of our coverage.
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Cristina Costantini’s Sally is a welcome highlight among the documentaries of SXSW ‘25.
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Though director Max Hey is focused and dialed in from the moment the documentary begins, Now! More! Yes! ultimately meanders around with its subject without inspiring much interest.
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In Idiotka, her feature debut as a director, Nastasya Popov delivers one hell of a calling card.
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Truth be told, this reviewer didn’t care for The Accountant 2.
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What happens when the subject of your documentary wants nothing to do with you? Obviously, you use their own technology to create an AI version of them, and interview it in hopes of finding your answers.
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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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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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