Verhoeven trusts us to take in an onslaught of religious parallels and florid symbolism and come to our own conclusions on what it all means—if anything.
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In times of recent social unrest, films from the L.A. Rebellion movement provide a reflection on how other American regions in other times creatively react to such intensity. Anger will always interrupt a peaceful environment. Instead, communities that break bread rise together and communities that reconcile will endure.
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The diaristic, process-dependent curiosity Un Ange Passe gives way to the script-bound melodrama I Can No Longer Hear the Guitar, which is dedicated to Nico’s memory after her tragic death in 1988, from cerebral hemorrhage following a bicycle accident.
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Sentimental Value, apart from the heartwrenching family dynamics of grief and trauma on display, reads like a love letter to cinema — but by the time the credits roll, we realize it’s actually a eulogy.
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The motorcyclist passes the car, which holds Colin (Harry Melling), a backseat passenger in the vehicle and in his own life, already a pillion before he ever touches a bike. This is the first time that Colin has laid eyes on the driver, Ray (Alexander Skarsgård), but it will hardly be the last.
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This week in Austin screenings 2/13-2/19.
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The Name of the Rose’s status as an arthouse mystery remains firmly intact. Annaud’s masterful direction of the medieval atmosphere and its commanding performances are central to its legacy.
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This classic absolutely deserved its win for Best Foreign Language film at the 1965 Academy Awards.
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In Father Mother Sister Brother, the first film from Jim Jarmusch in over six years, Jarmusch explores this world of, as Tom Waits puts it, “family relations” and how the secrets we keep to ourselves have the power to shape an entire family’s identity as much so as the things we reveal.
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“Wuthering Heights” includes plenty of bodice-ripping romance on the foggy moors, but its overall affect resembles Sofia Coppola’s Marie Antoinette curdled into a horny, death-haunted nightmare.
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he Moment gives an inside look into what goes on while an artist is trying to figure themselves out under massive scrutiny.
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This week in Austin screenings 2/6-2/12.
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Ultimately, the visuals are the saving grace here because the script is weak even by anime standards.
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At its heart, Shelter is a tale of an older man protecting a young girl, and that connection shines.
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A new series from Austin Film Society, “Nico/Garrel: White Light Lays Above,” explores the artistic collaboration between French New Wave outlaw Philippe Garrel and his muse Nico throughout the 1970s.
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Interview with our Hyperreal Spelling Bee winner, Kayla Oliver.
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This week in Austin screenings 1/30-2/6.
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Movies are often described as having dream logic or otherwise being dreamlike, and this truly feels like a dream.
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Who Killed Teddy Bear? is a seemingly salacious examination of human perversity, but there is room here for something more nuanced, thanks to performances that elevate the material.
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The Apple is a campy, blast from the past, borderline hippie propaganda mess that I couldn’t look away from and a not-so-genius product of its time.
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