Austin at SXSW 2014: Kat Candler, 'Hellion'


Kat Candler at Sundance 2014 by Leslie Langee, all rights reservedLast month while at Sundance Film Festival, I spoke with local filmmaker Kat Candler -- seen above at the Sundance 2014 premiere -- about directing her feature film Hellion. which makes its regional debut in the Festival Favorites section at SXSW on Sunday, March 9, at the Topfer Theatre at ZACH. Check out my Sundance review of Hellion here.

This was the third year in a row that Candler and Austin producer Kelly Williams (Cinema Six, Pit Stop) made the trip to Park City in support of their film projects. In 2012, the filmmakers attended the fest for the premiere of the short version of Hellion. Last year, the gripping dramatic short film Black Metal debuted at Sundance and was even selected for the Sundance Festival's online Screening Room. Williams also received a fellowship to the 2013 Sundance Creative Producing Lab, where selected producers receive creative and strategic support as well as direct funding for development and production.

This year brought even more attention to the talents of Candler with the feature-length movie Hellion, starring Aaron Paul, Juliette Lewis and in his acting debut, Dallas-based Josh Wiggins. The supporting cast includes actors from the original short including Deke Garner and Jonny Mars in this emotional drama about a widower and his sons who are grieving for their deceased mother in their own destructive manners.

Austin at SXSW 2014: All the Features


Jason Dohring and Kristen Bell in Veronica Mars

More keynotes (Tilda Swinton!) for this year's SXSW Film Festival were announced yesterday, with a few more films added to the schedule. Many features and documentaries with Austin and/or Texas connections are on the schedule for SXSW 2014, which takes place from March 7-15. Here's the rundown, with some familiar names joining new voices.


Veronica Mars -- Creator/writer/director/Austinite Rob Thomas kickstarted the budget for this silver-screen continuation of the cult favorite TV series. Kristen Bell (Veronica) and Jason Dohring (Logan) -- and many more from the original series cast -- reprise their roles when this detective movie makes its world premiere at SXSW. (screening times)

Joe -- Current Austin resident and director David Gordon Green, whose Prince Avalanche played at SXSW 2013, directed this Nicolas Cage vehicle about an ex-con (Cage) who befriends a teenage boy (Tye Sheridan, Mud). The movie was shot in Austin, Bastrop, Lockhart and Taylor, and Austin-based actress Heather Kafka has a brief but memorable role. Jette caught this at a press screening and says you do not want to miss it. (screening times)

SXSW Photo Flashback: How We Met Greta Gerwig



Yesterday, we learned that actress Greta Gerwig had signed to produce, write and star in a TV sitcom, How I Met Your Dad. She also starred in one of my favorite films of 2013, Frances Ha. But many of us who frequent SXSW still remember her on the stage of the Paramount after Hannah Takes the Stairs premiered at SXSW 2007, where the actress admitted that the belt she was wearing was the one she'd worn in the movie, because she wore her own clothes for the film. That's microbudget indie production for you.

I was at the theater that night with my crummy little point-and-shoot and took some photos too. Here's a close-up of Gerwig in her stripey dress along with Mark Duplass (second from the left), who also acted in the film, and director Joe Swanberg (between Duplass and Gerwig).

SXSW Announces 2014 Midnight Features and Shorts


SXSW Film logoThe SXSW 2014 Film Festival and Conference released their feature film lineup last week, and have now let audiences in on what the lineup will be for their Midnight Features and Short Film selections.

As someone who has never attended the Midnight Film Series before, quite a few titles and descriptions caught my attention. Stage Fright from Jerome Sable (which was just picked up for distribution by Magnet) promises to be a combination of "Scream meets Glee" in a genre-bending horror musical. Home from Nicholas McCarthy is described as being about a realtor trying to sell a home where a teenage girl sold her soul to the devil. Naya Rivera leads the cast, although I must say I was sad to see she wasn't in the Glee/Scream fusion. Both films are world premieres.

Another film that caught our attention here at Slackerwood is The Guest, from director Adam Wingard and screenwriter Simon Barrett. Their previous film, You're Next, screened at 2011's Fantastic Fest, and later at the 2013 SXSW Film Fest. Based on the reception and raving audience reviews of that movie, we're sure their latest work will be at the top of a lot of filmgoers' lists.

SXSW Producer and Senior Programmer Jarod Neece expressed his excitement about their provocative, after-dark features lineup. From the press release: "What an amazing year for genre film! We were blown away by the quality of work submitted and narrowing them down was no easy task.  We have first-time filmmakers, female filmmakers, SXSW veterans and genre filmmaking legends -- all hoping to scare the crap out of you in the wee hours of the night."

SXSW Film Announces 2014 Features Lineup


Michael Pena and Rosario Dawson in Cesar Chavez

The feature film lineup for the SXSW 2014 Film Festival, held March 7-15, was announced today. This year's film festival and conference will include some new aspects -- an "Episodic" series made up of upcoming TV projects and SxSports -- but will keep focus on features (and shorts, although that lineup is released next week).

Some of the standouts I noticed in this year's programming: Now-Austinite David Gordon Green's Joe, the North American premiere of Diego Luna's Cesar Chavez (trailer), Beyond Clueless (a celebration of the teen movie genre narrated by Fairuza Balk), the American premiere of Alejandro Jodorowsky's autobiographical The Dance of Reality, and as previously announced, the world premiere of the Veronica Mars movie (from Austin's own Rob Thomas).

SXSW 2013: All Our Guides and Coverage


Updated April 9, 2013.

Slackerwood was everywhere at SXSW Film this year. Here's the master list of all our guides, features, interviews, reviews and whatever else we wrote (or photographed).

SXSW 2013: Red Carpet Revue (Part Two)


Willie Nelson at SXSW

Continuing from Part One, here's Slackerwood's entirely frivolous gallery of red-carpet and post-screening Q&A photos from SXSW 2013. I've topped this page with one Austin-area star I know you'll recognize. Willie Nelson was on the When Angels Sing red carpet ... he plays a key role in the family-friendly holiday movie from Tim McCanlies.

When Angels Sing (Mike's review) also starred Harry Connick Jr., who is certainly easy on the eyes. Here he is on the red carpet:

SXSW 2013: Red Carpet Revue (Part One)


Olivia Wilde at SXSW

Slackerwood's coverage of SXSW 2013 has focused on Austin and Texas independent films and filmmakers, which were plentiful at the film fest this year. In addition, we watched and reviewed other interesting indie features and documentaries, as well as some short films.

But today, I'm wrapping up our coverage with frivolous red carpet and post-screening Q&A photos of the Beautiful People -- the stars, and I don't necessarily mean Austin celebrities either. That's Olivia Wilde pictured above, on the Drinking Buddies red carpet, and I am consumed with envy for the dress she's wearing. (Yes, those are little airplanes.) Let's take a little break and look at some pretty pictures of stars at SXSW taken by our intrepid photographers.

Having said that, I'll kick things off with an independent filmmaker: Joe Swanberg, who brought his first feature (Kissing on the Mouth) to SXSW in 2005, the first year I started going to and writing about SXSW. This year he was at the fest with the movie Drinking Buddies (Rod's review), which stars Wilde, Anna Kendrick and Ron Livingston, among others.

SXSW Review: Continental


Continental posterThe documentary Continental faces a tough challenge: Very little film footage or still photos exist for the legendary NYC bathhouse in its heyday. It's understandable -- this was not a place where many people wanted their pictures taken. But it means Continental has to drum up visual interest in other ways.

The movie takes us along on a breezy historical tour of the Continental Baths, one of the most well known and innovative bathhouses in New York in its prime. Steve Ostrow invested in the facility when it was a dark, dank warren of gay sex, and transformed it into a sophisticated gathering place and much cleaner, safer warren of gay sex. Eventually the Continental even drew a straight nightclub crowd for its concerts -- this is the place where Bette Midler launched her career.

Midler isn't one of the interview subjects -- she's represented only by still photos -- but many of the Continental's former employees and regulars happily recount tales of their time there. Interviews with Ostrow are the backbone of Continental, and in fact at times the story is not the history of the bathhouse as much as it is the history of the man who made it great, his work with the gay community, and his lifelong ambition to be an opera singer. He's such a magnetic interview subject that it's understandably why filmmaker Malcolm Ingram would focus on him.

To keep the documentary from being nothing but talking heads, Continental includes many contemporary shots of the hotel that used to be the home for the Continental, as well as the neighborhood surrounding it. It gets a little visually dull after awhile, but then I'm not sure what else Ingram could have done, unless he wanted to totally re-create the premises, a la Errol Morris? Which would have made for a very different movie. The rare footage and stills that do appear onscreen are fascinating -- I wish there were more.

SXSW Review: An Unreal Dream: The Michael Morton Story


An Unreal Dream: The Michael Morton StoryThe timing for An Unreal Dream: The Michael Morton Story to premiere in Austin at SXSW could not have been more appropriate, if you know the news story it recounts. And how much you know about Michael Morton's life may dictate how much you enjoy this documentary from Houston writer/filmmaker Al Reinert (For All Mankind, Apollo 13). The film won the Documentary Spotlight audience award at SXSW earlier this month.

The short and incomplete version: Chris Morton, Michael's wife, was found beaten to death in their Williamson County home in 1988. Michael Morton was charged with the crime, found guilty, and sentenced to life in prison. But he continued to assert his innocence. If you've paid attention to Austin-area news in the last week, you know how this situation has played out.

An Unreal Dream is structured as though Michael Morton is casually telling the story of his life to us. He sits at the front of a courtroom and shares his perspective as though we're seated right across from him. His narrative is enhanced by archival news footage, still photos and interviews with people who know him, from his lawyers to his fellow inmates. When his son Eric Olson appears on camera, and he and Morton start to talk about how Morton's prison sentence affected his child, it's heartbreaking.

I didn't know Morton's whole history when I saw An Unreal Dream -- I knew about how he fit in the Chris Morton murder case, and how that's transpired recently, but the details were new to me -- how long he was in prison, etc. And that's why I'm not including those details here, in case you aren't acquainted with them either. I can't say how well the story would hold the attention of a viewer who had closely followed the story over the years.

No matter how much of the background you know, the interviews will still hold your interest. I particularly liked Morton's original defense attorney, Bill Allison. Morton himself recounts his story with extremely personal details. He details his relationship with God in a way that is touching without being cloying or proselytizing.

I felt the documentary lagged during the years Morton was in prison and nothing was going on regarding the case. As interesting as the interview subjects are, they can't carry the film without more forward motion of the plot, so to speak. Fortunately, this interval is fairly brief and the momentum picks up again.

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