Joe Lynch doesn't make introspective films. He makes movies about inbred hillbillies (Wrong Turn 2: Dead End), and crazed gangs (Everly). So he's as surprised as anyone that Mayhem, his new insanity burst about corporate culture gone bug-eyed haywire, is his most personal story.
Few people would categorize Major Lazer’s style of rump-thumping global EDM as protest music, but Give Me Future proves that even the most fist-pumping party tunes become political when they reach the shores of Cuba.
Meet Sadie and McKayla. They're the queen bees of their high school, in the cheer squad and on the prom committee. They just need two more things to complete their lives: a bunch of social media followers, and a body count.
There's a key image that unlocks the central metaphor of Most Beautiful Island: cockroaches, fallen into a tub of water, scrabbling to survive. But are they treading water, treading each other down, or creating a raft for mutual survival?
On the benefits she’s eligible to receive from the government, one veteran says, “There’s nothing for me, and it's strictly because of my gender.” The fastest growing group of homeless people in America, more than 55,000 female veterans are disproportionately affected, and facing it largely unsupported by the country they risked their lives to defend.
Twenty minutes into Ramblin’ Freak, I was ready to write off the documentary – Parker Smith’s feature-length debut after directing videos for local bands in Austin – as a lo-fi narcissist’s meditation on white privilege and cinematic obsession. Then, out of left field, came the most hypnotic, disturbing montage from any film I’ve seen yet at the Festival.
In the Nigerian Yoruba language, “dara ju” means “better.” This film from writer/director Anthony Onah is a deeply personal story of the immigrant experience, fraught with all the dangers that ambition brings.