SXSW 2024: BABES, ROAD HOUSE, Y2K, I SAW THE TV GLOW
by Tori Potenza, Staff Writer
Four films from this year’s SXSW.
YUNI shows the struggles and joys of girlhood
by Megan Robinson, Staff Writer
In director Kamila Andini’s Yuni, the film that shares its name with its main character, individuality is revered by the youth and destroyed by the adults around them, as girls are often directed to a singular path for themselves: marriage.
RIDDLE OF FIRE is a neo-fairy tale odyssey sweeter than (blueberry) pie
by Liz Wiest, Staff Writer
While the movie is stylish in the same way that an Urban Outfitters Polaroid is, it simultaneously feels comforting and natural, like watching a VHS from your childhood.
STOPMOTION is a handcrafted tale of beauty and horror
by Tori Potenza, Staff Writer
Robert Morgan is a true artist who not only creates something visually stunning but also layers it with themes that resonate and bring the world to life.
Even a great Vanessa Hudgens performance can't save FRENCH GIRL
by Megan Robinson, Staff Writer
French Girl doesn’t do anything wrong because it can’t really claim to be doing much at all–neither funny nor romantic, neither progressive nor offensive, it just entertains in bits and pieces.
CLUB ZERO elegantly says nothing about eating disorders
by Alex Rudolph, Staff Writer
Indistinguishable from the propaganda it thinks it's tittering at, like a clown making fun of the person he sees in a mirror.
THE TUBA THIEVES builds an immersive sense of place
by Daniel Pecoraro, Staff Writer
Allison O’Daniel’s piece is an atmospheric piece on sound, music, and d/Deaf culture within and beyond these spheres.
5LBS OF PRESSURE is en empty exercise
by Gary M. Kramer, Staff Writer
5lbs of Pressure features several characters who are remorseful. Viewers who see this film all the way through will likely feel deep regret.
DR. JEKYLL feels right at home in the Hammer Horror tradition
by Fiona Underhill, Staff Writer
There’s much to commend here, and is a welcome return for a British studio with such a rich horror history. Long live Hammer!
Athena Film Festival: Q, IS THERE ANYBODY OUT THERE?, YOUR FAT FRIEND, and BREAKING THE NEWS
by Daniel Pecoraro, Staff Writer
Four more films from the Athena Film Festival.
WITH LOVE AND A MAJOR ORGAN celebrates the pain and frailty of being human
by Tina Kakadelis, Staff Writer
What if we existed in an alternate universe where our hearts were ordinary objects in our chests?
T BLOCKERS evokes Argento but from a younger, queerer lens
by Jo Rempel, Staff Writer
Key to T Blockers’ urgency is the notion that no matter how much vigilante justice happens in the moment, this apocalypse has happened before and will happen again.
2024 Athena Film Festival: GIRL, TWICE COLONIZED, DANCING QUEEN, FANCY DANCE
by Daniel Pecoraro, Staff Writer
Here’s the ares some of the flicks I saw on Thursday and Friday nights and Saturday afternoon.
COPA 71 shines a light on buried history of women's soccer (football)
by Daniel Pecoraro, Staff Writer
I'm not alone in my wonderment seeing the historical footage found in Copa 71.
DUNE: PART TWO is a beautiful book report
by Ryan Silberstein, Managing Editor, Red Herring
The spice expands consciousness–I wish Denis Villeneuve had at least experimented with it before he decided to navigate the spaceways of this science fiction epic.
IO CAPITANO has familiar pieces but puts them together for a unique and moving whole
by Ryan Silberstein, Managing Editor, Red Herring
Io Capitano is getting deserved attention for being a nominee for Best International Feature at this year’s Oscars, and rightly so.
GOLDEN YEARS shows how we can cope with change at any stage of our lives
by Daniel Pecoraro, Staff Writer
Golden Years, if not a revolutionary piece of film, is at least a movie with a relatively radical ethos.
IMPERFECT chooses reality over "inspo-porn"
by Billie Anderson, Staff Writer
With such a simple premise and result, it seems depressing that this documentary is almost revolutionary: a documentary about disabled people that feels aimed towards other disabled viewers.
LOVELY, DARK, AND DEEP tanks a promising start
by Clayton Hayes, Staff Writer
…At which point I yelled “WHAT?” at the screen, the only reasonable reaction to LDD trying to end on that note.
VESELKA: THE RAINBOW ON THE CORNER AT THE CENTER OF THE WORLD shares a Ukrainian immigrant story
by Daniel Pecoraro, Staff Writer
While the film starts in medias res, eleven days into the war in Veselka’s crowded basement kitchen, the film takes a broad look at Veselka’s place in the history of Little Ukraine and the East Village.