Ahead of this year’s Austin Film Festival, take a look at the feature films and documentaries our Hyperreal Film Journal writers can’t wait to see.
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This week in Austin screenings 10/17-10/23.
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The actor who has consistently caught my eye as a possible contender for the romantic lead we need in the modern era is none other than Jack Quaid.
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For reasons that extend beyond the film viewed in a vacuum, Robot Monster exudes a charm that is impossible to ignore.
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Godzilla vs. Biollante takes full advantage of the innovations of the time and rewards the viewer with the craft on display.
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Sure, it’s easy to tell where Roofman is going from the get-go – these “based on true events” crime stories tend to follow all the same beats. That’s okay though, when you tell a tight enough story with a big enough heart.
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This week in Austin screenings 10/10-10/16.
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Jeremy Saulnier’s 2015 horror film Green Room has been rattling around in my brain recently.
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Misunderstood upon release, now revered for its complexity; that its messiness is what gives it such a voice, and the obsession with spectacle and unpredictability in modern times, Southland Tales follows suit, displaying the grotesque, beautiful fascination with disaster.
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In a world where cinephiles ask “What if you made one character a Muppet?” Dan Akroyd dares to ask, “What if they were all Muppets, especially me?”
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In 2025’s record-breaking animated epic Ne Zha II, writer/director Yu Yang 杨宇 (credited as Jiaozi 饺子) presents loud, bright, unbelievable artistic direction with a crew three times that of its predecessor, giving intricate visual details to every element on the screen.
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Simply put, watching Angel’s Egg in the quality it deserves has been a significant challenge for decades outside of Japan. Having the opportunity to see a 4K restoration of Angel’s Egg in a movie theater, at Fantastic Fest no less, is a dream come true.
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From social media stalking to uninvited home visits, Lurker explores the consequences a budding singer faces when letting, unbeknownst to him, a stan into his inner circle.
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This week in Austin screenings 10/3-10/9.
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As a star vehicle, The Smashing Machine contains an inherent contradiction: we must see Dwayne Johnson transform, but must also always be aware that we’re watching Dwayne Johnson.
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The Lost Bus is everything you can want from a movie like this; great acting, heroes to root for, a story that never loses speed (even when the bus breaks down), and a broader message about how man-made climate change is capable of destroying the communities we love.
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Helmed by Saoirse Ronan as the teacher who takes matters into her own hands, Bad Apples takes a satirical bite out of education.
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Though buoyed by strong performances and a sustained sense of tension, Aneil Karia’s hollowed-out adaptation struggles under the weight of its legacy.
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Joachim Trier’s latest is a success in creating an intergenerational story of art and personal history.
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By positioning Videoheaven as both a cinematic essay and an archive, Alex Ross Perry ensures that the memory of video stores won’t just fade into nostalgia, but remain available for future generations to discover.
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