Cool monsters are expensive. Zeiram skimps on the story to feast on a live-action critter (or three).
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In this third installment of our four-part series on restorations of Wiseman’s older works, we find how Wiseman creates meaningful, memorable, and consistently engaging films that incisively reflect on American government bureaucracies.
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This week in Austin, TX film screenings 11/1–11/7.
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Werner Herzog rarely tells a story about nature where some natural phenomenon is its object. He tells stories, among other things, about people who must respond to nature’s power.
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The dilemma of adaptation is whether it is necessary to adapt fully or loosely and whether the intent is to honor or update the material.
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We sat down with Norita producers Sarah Schoellkopf and Melissa Daniels to discuss their connection to Nora Cortiñas and the feminist message at the heart of the film.
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We sat down with Travis Lee Ratcliff to chat about his music video created for Lena Luca’s song “Rosebuds.”
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This week in Austin, TX film screenings 10/25–10/31.
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As Powell and Pressburger’s Black Narcissus wrestles with so much lust and colonization, the film’s contemplation of faith gets a little lost in the scrum.
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When Kinds of Kindness is placed in a row with other White Album films, a theme seems to emerge: these are works where the director throws everything at the wall—not to see what sticks and trim the rest, but to make as big a mess as possible.
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Although Saturday Night is marketed as a comedy, it is hardly a laugh-out-loud spectacle: it’s similar to the anxiety-inducing cinema affiliated with the Safdie brothers but with a comedic touch.
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We Live in Time’s strength lies in the acting. Garfield and Pugh elevate the film from a standard tearjerker to a cathartic exploration of the way that love, grief, and memory intersect.
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This week in Austin Screenings 10/18 - 10/24
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In honor of Foxfire's screening as part of Austin Film Society’s Girls To the Front series, which Hyperreal Film Club partnered on, we sat down with director Annette Haywood-Carter to discuss the film’s journey from forgotten gem to feminist cult classic.
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Of Unknown Origin (1983) is about a man trying to kill a rat. But this clever horror film is really about the lead character’s Ahabian obsession with both his rodent opponent and with his career success.
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Central Park (1989) and Canal Zone (1977), point especially to his knack for keen sound design and editing. Both restorations demonstrate Frederick Wiseman’s deliberate choices for aural transitions and building an immersive and rich soundscape that helps fill out the impressive scope of both projects.
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Jadie Stillwell sits down with Susan Skoog to discuss Whatever, a film that traces the fine lines between apathy, autonomy, and acceptance.
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This week in Austin Screenings 10/11 - 10/17
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Aaron Schimberg’s A Different Man (2024) just hit theaters and might be as medicinal for you as it was for Schimberg’s protagonist. It is as thought provoking as it is fun and pulls off the difficult task of being original, being a meaningful addition to a conversation and being clear.
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Grazia Tricarico, along with co-writers Marco Morana and Giulio Rizzo, explore what happens when Mona’s body is pushed to the limits by herself, Kurt, society, and something else that resides deep in the picturesque lake she lives near.
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