This week in Austin screenings 3/29-4/4.
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Bionico’s Bachata is a refreshing gut-punch.
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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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Hyperreal Film Club interview extraordinaire Justin Norris catches up with Waypoint Entertainment’s co-founder and CEO, Ken Kao, and head executive and producer, Josh Rosenbaum, to talk about Waypoint’s journey, Cuckoo’s path to SXSW, and the ins and outs of film producing.
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This week in Austin screenings 3/22 - 3/28.
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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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Like its characters, It’s What’s Inside is a little vapid and bland underneath the surface, but for the duration of its runtime, it maintains an enviable momentum that kept me on the edge of my seat.
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Didi (which means “Little brother” in Mandarin), adds a bit of unique zest to the coming-of-age genre it lovingly sets itself in.
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Grand Theft Hamlet is about making art in a hostile world, about carving out time and energy and justifications for why you're doing such a meaningless thing in the first place.
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Arcadian, which recently had its world premiere at SXSW, seems to follow the elevated horror mold at first glance.
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The Gutter, directed by brothers Isaiah and Yassir Lester, is the comedy we've been waiting for.
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2024 SXSW premieres Ghostlight and Grand Theft Hamlet each take on the power of performing Shakespeare.
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Immaculate is simply a film that doesn't need to exist.
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This week in Austin screenings 3/15-3/21.
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Hyperreal Film Club sat down with Jeanne Stern, the creator of Catula Theme Song, to talk the origins of Catula and its main character, her art inspirations, and the theme songs that she can’t get out of her head.
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