Andrew Bujalski rejects the easy drama of the competition as a focus of Computer Chess.
Devendra Banhart’s frequent non sequiturs landed with such winsome glee that they somehow never felt contrived.
Here’s to the extremes of cinema!
Yesterday marked a tonal sea change in Austin, as South By Southwest’s “Interactive” attendees began to trickle off and the music types poured in.
The Pandora Stage at Antone’s showcased a slate of solid rock acts, from the ever-protean Akron/Family to the vintage pop-rock act Guards.
Before Midnight, the latest film by hometown hero Richard Linklater, was one of the festival’s most anticipated features, and it didn’t disappoint.
Prince Avalanche, a Judd Apatow-like bromance elevated to the realm of near-myth, is an extremely odd, deliberately jarring work.
Another opening-night gala screening, another crapshoot.
Two of the year’s most striking posters are made up of little more than mysterious ingenues and coolly apt text.
Bay of All Saints eschews stereotypical portrayals of Brazilian slums as the festering ground for prostitution and drug trafficking.
As the music portion of the festival, and SXSW itself, draws to a close, there’s a lot to consider.
Indie Game follows two development teams clocking unnatural hours to complete their respective games before they run out of money and sanity.
Loose, shaggy, and more than a little rough, Gimme the Loot hearkens back to NYC indies like Kids.
Watching V/H/S is a gruesome and twisted blast.
Under African Skies is a positive breather after the heaviness of Paradise Lost 3: Purgatory.
Music is chaos, in the sense that it’s usually ruled by random chance rather than any distinct system.
Writers are often told that, when it comes to the act of artistic creation, one should “write what you know.”
Kirsten Sheridan’s Dollhouse feels unstable but also achingly real.
There’s a thudding pulse that seems to reverberate out of the city itself.
Zobel aims to implicate us all in what he forces us to confront.