In many ways, when you look at modern society and its marriage with technology, it truly feels like we’re living in a science fiction film. As our dependence on tech grows, so does the rift between ourselves and others around us in the physical world.
Though we’re more connected now than ever before, many rely on using a screen to communicate rather than face-to-face human interaction. We’ve seen these topics explored many times over in cinema, from Spike Jonze’s magnificent Her to more obscure and darker films like David Cronenberg’s Existenz.
Mark Craig’s The Last Man on the Moon is the story of Eugene “Gene” Cernan, an American astronaut, who, among other things, reached the fastest speed ever attained in a manned vehicle (24,791 MPH) with two of his fellow astronauts, and he was the last person to walk on the surface of the moon.
Fernando Coimbra’s Brazilian thriller A Wolf at the Door begins as a kidnap story, with a couple reporting that their child was abducted from school. From here the viewer is led to believe the film will then progress as a simple whodunit, with police tracking the kidnapper and attempting to rescue the child. Coimbra boldly tosses this procedural structure aside however, and reveals the kidnapper within the first act. Surprisingly, even after knowing who took the child, the film still manages to keep the viewer on their feet as they discover the reasoning behind the abduction.
Gravitas Ventures announced today that they have acquired David T. Friendly and Mick Partridge‘s documentary Sneakerheadz, which takes a look at the hobby/obsession/addiction of sneaker collecting. The doc was picked up after premiering at this year’s SXSW and will be released day and date
Music is universal. It crosses borders. It breaks through language barriers. It creates a sense of community. One can get a sense of just how popular a style of music is just by looking at English-speaking artists who are selling out venues in foreign countries where English isn’t even the native language. It doesn’t matter if they don’t understand the words because the people like the sound, and somehow they connect with it.
Being diagnosed with breast cancer is a devastating discovery, one that ignites a flurry of thoughts, a multitude of questions and concerns or it could elicit the opposite response - total shock shutdown. Either way, it’s an exhausting and emotionally draining existence in most cases as the person needs to deal with a number of issues that tag-along with a cancer diagnosis - questions regarding treatment options, medication and their side effects, surgeries, tests, work restrictions and so on. Now imagine during that initial flood of worries and what-ifs the first bit of follow-up news you receive is that the cancer has metastasized and it’s incurable.
This year’s SXSW is just about wrapped up and with that the full list of award winners has been announced. Trey Edward Shults‘ Krisha won the Grand Jury Award for Narrative Feature, and Scott Christopherson and Brad Barber‘s Peace Officer won the
God Bless the Child, or “Babysitting Simulator 2015” as I like to call it, is a minimalistic, home-movie-style film that – while featuring a thread-bare plot – packs a surprisingly strong emotional punch within its final five minutes. Similar to Alexandre Rockwell’s recent Little Feet, the film acts as a candid exploration of youth, starring five real-life siblings left to their own devices.
he emphasis in the title for A Space Program should be placed on the indefinite article. Despite the omnipresence of NASA branded materials, the outfit depicted in the film is definitely not “the” space program. It’s a fabricated collective staging a handmade journey to Mars. The environs of this space program are quite literally fabricated, built out of plywood, construction paper, and other materials. While the ambition and execution with the building and staging of the mission are immensely impressive, the movie that celebrates it doesn’t approach the same type of lo-fi grandeur.
The first teaser trailer for Benjamin Dickinson‘s upcoming futuristic comedy Creative Control has been released ahead of its premiere at this year’s SXSW Festival. The film stars Dickinson as an advertising executive tasked with marketing Augmenta, a new type of augmented reality
For some reason, I have always had an affinity with films revolving around cults. The psychology behind someone who can be brainwashed into following some self-appointed leader is a fascinating subject to explore. When you throw comedy into the mix it’s even better and such is the case with Riley Stearns’ Faults. With a breakout performance of Leland Orser, this small, dialogue driven dark comedy provides insight into the manipulation of a cult, while providing some hilarious bits of humor.
Here’s the trailer for the upcoming documentary Made in Japan, which will be making its premiere at this year’s SXSW Festival in Austin. The film, directed by Josh Bishop and narrated by Elijah Wood, chronicles the life of Tomi Fujiyama, the first female
One of the crazier looking films to screen during the midnighters programming at this year’s SXSW is Jason Lei Howden‘s Deathgasm, which looks to contain just the right amount of comedy and over the top gore. The film revolves around two friends who