Norman MacLeod’s Alice in Wonderland adaptation brings viewers into an exquisitely rendered world with uncanny visuals.
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This week in Austin screenings 8/18-8/24.
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Kitano takes a fractured, elliptical approach to depicting violence, like Peckinpah with frames missing. Yet despite its veneer of deadpan nihilism, this is a deeply emotional story, aided by Joe Hisaishi’s perversely sentimental seaside-jazz score.
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Raine Allen-Miller’s 2023 debut is a brilliant romantic comedy about two unlucky-in-love people in South London, who each try to help each other process their recent break-ups. Together they go on an adventure that starts as a meet-cute, which evolves into a heist caper, and ends in a very sweet romantic send off.
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In the first edition of Morgan’s Monthly, writer, presenter, and cult film enthusiast Morgan Hyde writes about cucked dudes, cinema classics, and a Turkish E.T.
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Noxeema’s four steps to becoming a drag queen:
May good thoughts be your sword and shield.
Ignore Adversity
Abide by the rules of Love
Larger than life is just the right size.
This week in Austin screenings 8/11-8/17.
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There's simply no American equivalent to compare to this break from Indian blockbuster filmmaking tradition, and that maximalist "why not?" glee continues through the entire film.
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David Winters’ 2015 film Dancin’: It’s On acts as a love letter to the art of dancing and the magical city of Panama City, Florida.
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With Afire, Christian Petzold has once again brought an interesting and contemplative film to life. His work with actors like Beer and Schubert continues to drive his stories into interesting places. Afire is likely to be a new experience for any with the patience to sit with Leon, but is overall a rewarding one.
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Like any good, conniving femme fatale, Matty leverages that lust, putting the erotic in erotic neo-noir. “You aren’t too smart, are you? I like that in a man.”
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This week in Austin screenings 8/4-8/10.
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"We had a chance to do something really cool. This was our version of Into the Dragon, with vampires.”
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Joe Dante’s homoerotic sci-fi comedy Innerspace, captured through its most crazy-ass brain-searing images.
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This July, take a peek at what Hyperreal folks chose to pair with our official screenings—from dystopian English punks to clowns behaving badly and everything in-between.
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Cloak & Dagger (1984) marked the end of an era of PG movies that challenge kids with complex issues and dark edges.
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This week in Austin screenings 7/28-8/3.
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A Mattel-funded Barbie was never going to end patriarchy, and it would be unrealistic to think it ever could. However, Gerwig still offers a salient, at times genuine look at modern girlhood devoid of the “girlboss” narrative the film was originally saddled with, and it’s fun. Remember girlish fun? It’s been a while since girl-centric fun was at the forefront of a big studio feature.
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In his video essay, Forest DeLozier examines the origins of Regionalism in American art, and its modern ties to the independent filmmaker, Kelly Reichardt. Known for her work on films such as First Cow, River Of Grass, Night Moves, and most recently, Showing Up, the writer and director offers spellbinding representations of life in America.
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With the current politicization of gender identity, ORLANDO is an essential text of queer theory and an example of how each element of our selfhood is changeable, a demonstration of how a freedom of spirit allows for the indulgence of endless earthly delights.
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