Brutalist architecture and the immigrant experience are on the surface, but the film is truly about homesteading, occupation, and the space buildings take from nature and other people.
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Tom DiCillo’s Living in Oblivion (1995) is a dark satire of independent filmmaking that reveals within the nightmare of production lies the dream of creativity.
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Killer clowns are so back! Based on the successful novel by Adam Cesare, Clown in a Cornfield has all the slasher tropes we know and love: killer opening scene, new town, dead mom, cute boy, questionable friend group. It plays the parts perfectly but is far from predictable as Frendo wreaks havoc on the remote town of Kettle Springs, Missouri.
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Going Down, director Haydn Keenan’s scrappy DIY debut feature, is a feverish portrait of early 1980s Sydney and its chaotic punk underbelly.
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We spoke to Ivan Dixon’s daughter, Doris Nomathandé Dixon, and the former Head of the Moving Image Section at the Library of Congress, Mike Mashon, about their experiencing restoring The Spook Who Sat By the Door.
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Final Destination Bloodlines isn’t just another by-the-numbers franchise money-grabber, but one that’s willing to play around—and have a little fun—with the rules of the game.
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This week in Austin screenings 5/30-6/5.
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Crisis can reveal peoples’ true colors, and that’s what Ari Aster examines to decent effect in his latest feature, Eddington.
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Death is an inevitability, Alexis Franco affirms in his documentary Donde Los Árboles Dan Carne (Where the Trees Bear Meat). Shown during Austin Film Society’s annual Doc Days, Franco’s film is an intimately quiet portrait of the modern Argentine gaucho shaped by the slow destruction of climate change.
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Regardless of your relationship with the 90s, you will feel nostalgic for your own youth while watching Middletown, the third directorial collaboration between spouses Amanda McBaine and Jesse Moss, following the lauded Boys State (2020) and Girls State (2024).
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Love On A Leash exists in that space between a movie that shouldn’t have been released and one that should be seen by anybody with the patience for something truly weird.
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If you ask someone for a recommendation for a “sciency” film you usually get one of two types of recommendations: “experiments gone wrong,” or “scientific exploration.” The second often falls in line with the notion of Scientific Fiction.
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For his tenth feature film (eleventh if you count his student featurette, Xiaoshan Going Home), Jia Zhang-ke has made what is perhaps his most ambitious project yet.
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This week in Austin screenings 5/23-5/29.
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Today, we got the opportunity to speak to Hannia Yeverino about her film Punks, which played this year at the Houston Latino Film Festival.
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Like a well-mixed but not particularly innovative cocktail you might order at a chain restaurant in the suburbs, this movie goes down easy but doesn't linger long in the memory.
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After viewing this groan- and grin-inducing film, I sat down with my old friend and one of the stars of Final Destination Bloodlines, Richard Harmon, to discuss the family dynamic, how he pulled off each impossible stunt, and his experience working alongside the late, great Tony Todd.
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In Mistress Dispeller, Elizabeth Lo’s (罗宝) second documentary feature, the camera feels almost absent, disappeared in the way of a narrative film. It’s a documentary shot like a romantic drama, specifically evoking the dreamy, languid camera most associated with slow cinema.
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This week in Austin screenings 5/16-5/22.
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Bring Her Back, directed by Danny and Michael Philippou and written by Bill Hinzman and Danny, finetunes the jumpscares and creeping atmosphere of their debut Talk to Me while offering a storyline that’s both more cogent and emotionally intuitive than its predecessor.
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