This week in Austin screenings, 6/28-7/4.
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Lanthimos loves a fall from grace and loves to see characters smart enough to make the right moves but dumb enough to think that the good days will last forever.
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Jacques Tati’s Playtime (1967) remains a masterpiece of visual comedy reminding viewers of our own contemporary constructions that threaten to engulf us.
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For director Shaun Seneviratne, life is cinema and cinema is life. His first feature film, Ben and Suzanne: A Reunion in Four Parts, which debuted at SXSW this year, places the viewer as a fly on the wall, witnesses to a week in the life of a couple’s attempt to figure out their future. It is the result of a fourteen-year-long filmmaking process.
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With All That Jazz, Fosse not only created a pageant of his own death, but the glorious death of the original movie musical altogether.
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This week in Austin screenings, 6/21-6/27.
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Desert Hearts has become a touchstone for queer audiences across generations, a lesbian love story written and directed by women that gives space to the emotions and sexuality of two women’s relationship.
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Movie musicals have been a persistent staple in American culture nearly as long as movies themselves have. Therefore, it is worth discussing ten movie musicals you may have seldom stopped to consider next to standards like Singin’ in the Rain or Cabaret or Grease. These unsung heroes of the movie musical genre are begging for more love and attention.
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In director Chris Smith’s blitzy kitsch-soaked documentary, DEVO, Mothersbaugh and Casale give an oral history of the experimental music project’s suburban origins, their wacky audio-visual antics on the punk circuit, and their brief, but explosive time as one of the most famous bands in the world.
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This week in Austin screenings 6/14-6/20.
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What sets Mishima apart from Schrader’s other works is its unconventional structure and style.
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Hit Man, the latest from Austin’s own director Richard Linklater and actor Glen Powell, looks like the opposite of film noir, particularly as described by Schrader, at first. It’is a funny, sexy, sunny character study, in which Powell and co-star Adria Arjona build a thorny romance that turns on curiosity as much as it does attraction. Powell’s mild-mannered philosophy professor Gary Johnson, who’s moonlightsing as an imposter hitman for the New Orleans Police Department, provides a chance for him to go both broad and deep. It’s consistently a hoot.
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In all of cinema’s short history, has there ever been another joke as filthy, funny, perverse – and of course, well-earned – as the canonization of John Waters? At this exact moment, you can go out and spend forty hard-earned dollars on a “culturally important” boutique Blu-ray of a film which concludes on a cross-dresser eating literal, actual dog turds. If there's a more beautiful representation of the lurking good taste which occasionally threatens to puncture the bubble of our stolid society, I've yet to see it. But then again, Pink Flamingos was never about good taste.
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A definitive ranking of every outfit Honey Kitsuragi wears in Hideakki Anno’s 2004 Cutie Honey adaptation.
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This week in Austin screenings 6/7 - 6/13.
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A promising but flawed directorial debut from Ishana Night Shyamalan, The Watchers dazzles with its visuals but lacks the pacing and subtle writing needed to elevate it into greatness.
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Ahead of her directorial debut The Watchers, we sat down with Ishana Night Shyamalan to talk about her influences, working with Dakota Fanning, and what’s missing in the modern horror genre.
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I had the pleasure of speaking with Sean about the process of making “Tennis, Oranges,” quiet spaces in LA Chinatown, and the power of saying as little as possible.
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Lana Wilson’s new documentary, Look Into My Eyes, presents through juxtaposition of hurt and healing the film’s ethos: human is to be messy.
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This week in Austin screenings 5/31-6/6.
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