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Linklater is seen as a figurehead for independent cinema, and one of the biggest reasons for this title is the excitement that his films carry. They are rebellious and staunchly against popular films of their time. However, this excitement is not the sum of perfectly precise plotting with never-coulda-seen-it-coming twists—it instead comes from a distinct abandonment of these elements.
Read MoreWith the opening of 1986’s A Better Tomorrow, director John Woo and star Chow Yun Fat captured “cool” with skill and style that very few have been able to match since.
Read MoreOn the shores of Club Med, the possibilities of love are as endless as the sea itself. In the second two films of the series, Lina Wertmüller’s Swept Away and Jean-Luc Godard’s Contempt, we see love’s demise as irreconcilable differences surface in the tumultuous throes of passion.
Read MoreIn this first edition of Hyperreal’s two-part coverage, we look at the first two films of the series, Bay of Angels and Boom!, and how these films populate the cinematic Mediterranean.
Read MoreDeath 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.
Read MoreRegardless 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).
Read MoreEach year, Austin Film Society brings the best of nonfiction cinema from across the world to our city for the annual Doc Days film festival.
Read MoreTime Passages is a deftly woven scrapbook and an act of mourning.
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