Set in a post-apocalyptic world, Austin-based filmmaker Andrew Olson's short movie Blackout made its world premiere at last weekend's inaugural Other Worlds Austin, the city's first dedicated science-fiction movie festival. The horror-thriller screened before the feature Apt 3D.
An online cast and crew call for Blackout decribed the Austin-shot short as "Mad Max meets Pitch Black." It takes place in the future, where a survivor in the fight against the monstrous Reapers comes face-to-face with them.
Olson, a University of Texas at Austin alumnus, said Blackout, still on the festival circuit, was created to help promote a future fundraising campaign for a "feature or episodic version" of the short.
Slackerwood: Did you initially consider Blackout to be science fiction?
Andrew Olson: Yes, I always considered Blackout science fiction and horror.
Ready, Set, Fund is a column about crowdfunding and fundraising endeavors related to Austin and Texas independent film projects.
It's a busy month for local films in the making, and you have plenty of chances to help your favorite (or future favorite) Texas filmmakers bring their stories to the screen.
Into fun, artsy horror movies? Slow Creep by Jim Hickcox is about a "rad-as-hell 15-year-old girl" who, in an act of revenge, goes after a monster made of garbage. This project recently received an AFS Kodak Grant but still needs to raise a few thousand dollars so that the filmmaker can properly create the 90s aesthetic and scary details his monster movie requires.
Find out more in this trailer:
Last Sunday, after a day at Austin Film Festival packed with a lackluster panel, a surprisingly well-done foreign shorts program, and the screening of a Reese Witherspoon film I've been keen to see for months, I closed the evening with The Sideways Light at the Alamo Drafthouse Village. The thriller was a chilling cap to the night.
In her large house, sextuagenarian Ruth (Annalee Jefferies, Ain't Them Bodies Saints, The Girl) putters around and talks to herself (or so we and her daughter assume). Worried about her ailing mother, Lily (Lindsay Burdge, A Teacher, Frances Ha) has moved back home for the interim. Daughter Lily uneasily slips into the role of caretaker as her mom becomes more childlike. She takes breaks offered by her brother Sam (Mark Reeb, Eve of Understanding, Sun Don't Shine) to visit and flirt with bar owner Aidan (Matthew Newton, Queen of the Damned, Farscape).
Ruth has been diagnosed with early-onset Alzheimer's, but that's not all she's dealing with. She hates to leave the house because "they look after me." Lily comes to realize who "they" are as the film progresses.
With the influx of transplants, the rise of condos and office buildings across the Austin skyline, and the gentrification of much of Austin's eclectic areas, it can be hard to remember the vibrant time of the past. You could people -watch all day at local cafes including the original Quack's on the Drag -- actually called "Quackenbush’s Intergalactic Dessert Co & Espresso Café" -- and Les Amis, then visit Sixth Street to listen to street musicians and buy a flower from a street vendor without having to step over the remnants of drunkenness.
Beef and Pie Productions filmmakers capture the nostalgia of old Austin in their 50-minute documentary film, Crazy Carl and His Man-Boobs, which premieres at this year's Austin Film Festival and screens again tonight at 7 pm at the Alamo Drafthouse Village. This quirky and entertaining film brings to light the forces that both created and are driving this phenomena away. As the economic and political landscape has changed in Austin, so has the heart and the people of this progressive city.
If you've ever been to Esther's Follies at Sixth Street and Red River, you may have seen Crazy Carl Hickerson. Best known for selling and spinning flowers, he can also be seen flashing his man boobs and dancing. What you may not know is that Hickerson has also been an Austin City Council candidate several times, with a penchant for odd platforms -- some even related to his foot fetish. Hickerson spends much of his time caring for his wife Charlotte Ferris, and the loving couple are a source of amusement with their good-natured tales.
The haunting events that occur while a young woman cares for her ill mother are the basis for thriller The Sideways Light. The dramatic feature is Austin writer/director/producer Jennifer Harlow's first full-length film, and screens as part of the Dark Matters content at Austin Film Festival. Before the fest kicks off, Harlow chatted with me via email about her subject matter, directing while introverted, and finding the right cast.
Slackerwood: Why focus on these two women and their intimate conflict? What drew you to tell their story?
Jennifer Harlow: I knew I wanted to write a ghost story. I was hung up on the idea of being haunted by memories. What if I took those three words literally? Who would that happen to? Someone that is losing their memory, someone that lives in a place full of memories. What if Grandma handed down more than her rocking chair?
If people in compromised states of mind are more sensitive to the supernatural, then a dementia patient and her caregiver/daughter are prime victims. Pile on that the fact that women are afraid of turning into their mothers. That was territory I knew I could write about.
The full lineup and schedule have now been announced for this year's Austin Film Festival. Along with buzzy Marquee Selections like Wild and The Imitation Game and a few exciting late additions, including Jon Stewart's debut film Rosewater, The Humbling (starring Al Pacino) and dramedy/musical The Last 5 Years, dozens of world and regional premieres are slated to screen, too -- many with Texas ties.
You can take a look at the full lineup and conference schedule (they're using Sched this year) and start planning your own path, but for now here's a quick overview of the films appearing at the festival made by and about Texans.
21 Years: Richard Linklater -- Austin is the perfect place for the world premiere of this documentary, as it covers the first 21 years of the local director's career. The film features interviews with some of Linklater's regular collaborators, including Matthew McConaughey, Julie Delpy and Ethan Hawke. You can bet this Friday night screening at the Paramount will be packed with proud local film fans.
Continuing from Part One, here are detailed descriptions of more 2014 AFS Grants winners. Again, if you have info we don't, feel free to share it in the comments or drop us a line if you're involved with one of the films.
Never Goin' Back (Narrative Feature) (pictured below)
- The grant: $2,500 (AFS Grant Award) for production and $5,000 (MPS Camera Award) for camera package and equipment rentals
- The blurb: "In an attempt to get rent money and avoid eviction, high school drop outs Jessie & Angela embark on a day of adventure that includes dudes, drugs, booze and an ill-advised heist. Just another day in the life of your average 16-year-old girl."
- The filmmaker: Augustine Frizzell was born in Texas and currently lives in Dallas. She has done quite a bit of work as an actress (her credits include Ain't Them Bodies Saints and Hellion), and she also directed the short film I Was A Teenage Girl, which screened at SXSW last year (Elizabeth's interview with her).
Congratulations are in order for several Austin and Texas filmmakers, as the Austin Film Society announced its 2014 AFS Grant recipients Tuesday. This year, $115,000 will be distributed to 40 individuals to help with production and distribution costs on a combined 37 feature and short films. Each year, we at Slackerwood look forward to this announcement because it provides a nice roundup of specific movies we can look forward to seeing in the coming months.
More than half of this year's grant recipients have never before received funding from AFS, and the remaining awardees include familiar Lone Star filmmakers like Andrew Bujalski, Yen Tan and John Fiege. All but three grants (not including Travel Grants) will assist Austin-based films -- there's a lot going on around here.
Here's an overview of this year's AFS Grant recipients along with a little context and background information. Let us know if you have anything to add, and feel free to reach out if you're involved with any of these projects and want to tell us more.
Shorts Break spotlights Austin and Texas short films that you can watch right here and now ... take a break and take a look!
For the inaugural edition of Shorts Break, I decided to go with puppets. You can't go wrong with puppets (just ask John Oliver), especially if there's a catchy tune too.
Keith & Heath is a short comedy from Andy Young, and if I'd written this two months ago, I would have called him "Austinite Andy Young" ... but he's just moved to Los Angeles after graduating from The University of Texas at Austin. Keith & Heath is his undergraduate thesis film. Young also worked on the Austin-shot feature Intramural. Rumor has it (okay, his Facebook page has it) that he's working for some other former Austinites this summer, the Duplass brothers. Besides being a filmmaker, he also contributes to Moviemaker Magazine (check out his recent interview with Richard Linklater).
It took 12 years to make Boyhood. After seeing it, it took me about 12 seconds to declare it one of the best films ever made.
That's right, gentle Slackerwood readers -- one of the best films ever made.
Read on only if you're fond of superlatives, for this review is laden with them. And Boyhood deserves every one -- it is nothing less than a monumental cinematic achievement, a movie that may redefine what is possible in the world of filmmaking. It is stunning and amazing and mesmerizing, and I could go on and on about it -- and will.
Boyhood's story isn't complicated. It follows a boy, Mason (Ellar Coltrane), and his family as he grows from age six to 18. Along the way, Mason experiences the wonders of youth as well as the heartbreaks, while his family tries to remain functional despite its dysfunction. Mason's life story isn't remarkable, but it's wonderfully told and deeply meaningful thanks to writer/director Richard Linklater's terrific script.