Every year tens of thousands of artists, aficionados and businesspeople flock to Austin for South by Southwest, a festival that is part online conference, part film festival, and more than part music. The days are filled with panels and films, and the nights with parties, music, and, well, more films. SXSW’s programming has often been associated with the rise of the mumblecore film genre, but encompasses so much more, most notably a focus on documentaries with a counterculture focus. Inspired by the crazy, ad hoc feeling on the streets of Austin, I’ve attempted to take a page out of the New York Times’ book to create an audio slideshow that captures at least a glimpse of the feeling on the ground.
With riveting characters, cascading revelations and momentous breakthroughs, Epstein and Friedman’s work paved the way for contemporary documentary practice.
Susan Gerhard talks copy, critics and the 'there' we have here.
Since its first event in 1998, Midnight Mass has become an SF institution, and Peaches Christ, well, she's its peerless warden and cult leader.
Universally warm sentiment is attached to the Bay Area's hardest working indie/art film publicist.
Filmmaker and programmer Moore talks process, offers perspective on his debut feature and Cinema by the Bay opener, ‘I Think It’s Raining.’
For 50 years, Canyon Cinema has provided crucial support for a fertile avant-garde film scene.
Director Mina T. Son talks about the creation of ‘Making Noise in Silence,’ screening the United Nations Association Film Festival this week.
Accompanied by a program of solar system shorts, Travis Wilkerson’s 2003 look at ruthless union-busting and the rise and fall of Butte, Montana, offers eerie resonance.