Today we’re joined by longtime actor and writer Angela Gulner to talk about her directorial debut feature, The Beldham, which is a multigenerational monster movie.
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Today we’re joined by Dani Hurtado, writer, star, and director of the short film Affogato, which screened at the 2024 Austin Film Festival.
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Released nearly a decade prior to the landmark ruling of Roe v. Wade, Love with the Proper Stranger is a time capsule to an era where abortions were illegal and performed covertly.
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The Seed of the Sacred Fig entwines the real threats of a brutal theocracy with the fictional story of one family’s struggle under its absolutist rule.
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This week in Austin screenings, 11/8-11/14.
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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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