This week in Austin screenings 4/10-4/16.
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Auteurism has entered the mainstream, and in mainstream fashion, has completed its metamorphosis and become what all things are destined to: a brand.
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With its marriage of whip-smart dialogue, darkly satiric themes and a finely honed direction, Borgli’s best effort yet is the romantic-dramedy we deserve.
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While the subject matter of Josephine is a risky approach and will likely be triggering for some, in Araújo’s careful hands we’re left with a uniquely modern portrait of how there is no right way to navigate healing from trauma; and further how trauma can seep into everything in our daily lives, at school, at home, or in quiet moments where there’s no language to process what happened.
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Blake Williams interviews Charlie Tyrell, one half of the directing team behind The AI Doc (or How I Became An Apocaloptimist) about the filmmaking process, apocaloptimism, and creative balance.
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Alex Prager’s DreamQuil is a tonally confused and mostly incoherent movie buckling under the weight of its ideas—and even a strong lead and distinctive visuals can’t save it from that.
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Scorsese would never again make a film this unwieldy again, the last time he’d not be fully in control. And that is what makes New York, New York so special.
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This week in Austin screenings 4/3-4/9.
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First They Came for My College is an incredibly emotional documentary, even if it struggles to connect that emotion to the bigger picture.
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Ultimately, Kontinental ‘25 feels like a Radu Jude film for people who can’t stomach the idea of a Radu Jude film.
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Love Hotel ends up not necessarily answering the question of what these two people want or need from each other, but it does leave a familiar bittersweetness in its wake.
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Patricia Gillespie’s documentary aims to expose the insidious nature of unchecked mental illness at its most extreme, and for the most part she succeeds. #SKYKING is a tough watch but it is a rewarding one.
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From its name on down, Polone’s Psycho Killer has a certain braindead charm that earns its mercifully brief 92 minutes.
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Passing Through represents a dynamic example of black artists creatively reacting to times of civil unrest, and inspiring other filmmakers to continue telling such stories in later periods.
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Before we even meet the central couple, the film frames sex not as a conquest for pleasure or love, but as a means to start a philosophy lecture on the human drive.
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This week in Austin screenings 3/27-4/2.
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I left the theater that evening yearning for modern filmmaking to take a note from something like Pink Cut – a film brave enough to marry whimsy and eroticism perfectly.
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Forbidden Fruits feels like an almost great teen movie.
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While Scott and Deadwyler are magnetic performers, The Saviors becomes too focused on its own plot to let the viewer engage with it as a pure character piece, but the plot is so obviously foreshadowing a twist that the film feels slow in execution.
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Ready or Not 2: Here I Come aims to be bigger and bolder, but a suite of new characters can’t save the movie from a dumbed-down script.
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