Lenny Abrahamson‘s Room, adapted by Emma Donoghue from her own novel, is an imaginative examination of parent-child dynamics that’s been garnering the Irish director wide praise. Also receiving her share of adulation is Brie Larson, who plays Ma, a single mother who lives confined in a little room with her son, Jack (Jacob Tremblay). “Room,” as they lovingly call their humble abode, is the only world Jack’s ever known, but Ma wants more for her son’s life and hatches a plan to deceive their captor and break out of Room and into the larger outside world.

Room‘s brilliance is all but undeniable. Emotional, urgent, unpredictable, sweet, frightening—the movie is super complex and deceptively simple, not to mention it harbors arguably Larson’s best performance yet. Tremblay matches his older co-star’s talent and, amazingly, acts as the film’s anchor at eight years old.

I spoke to Abrahamson about the film in a roundtable interview during his visit to San Francisco at the Ritz Carlton Hotel. Room is out now in select cities, opens in San Francisco tomorrow, October 23rd, and expands wide November 6th.

You’ve talked about a letter you wrote to Emma Donoghue and the pitfalls a director could face in adapting this story.
Lenny: I thought there were two opposite ways you could go wrong making this film. On one hand, you could make something terribly sentimental where you’re just button-pushing and manipulating the audience to fake emotion. In the other direction, if you go for tough, gritty, bleak and hardcore, you end up with something that’s a bit exploitative and doesn’t capture what the novel’s really about. It isn’t about incarceration. To tell the story as if it were about the incarceration is to tell the story on the terms the abuser sets; we’re telling the story on the terms the survivors set.

I also felt there would be a temptation—given that the novel is told from the point of view of the little boy—to try to find some device or trick or technique to directly copy that to film. Computer graphic techniques, ways to make more magical the things that Jack talks about—somehow externalizing the way the child is thinking. I thought, all that would do is distance the audience from what is the strongest aspect of this film, which is a sense of a real encounter with those characters. You trust an audience brings this empathetic tenderness to characters if they’re well shown, and that type of emotion is way more real and lasting than the shock or sentiment.

I had a wonderful experience with the film because I had not heard about the book or seen the trailer. I went in totally cold. When that pivotal moment comes halfway through the movie I thought, “Well, I guess the ending is coming soon.” I loved not knowing what was going to happen next. Is that the ideal way you’d like audiences to watch the film, knowing essentially nothing going in?
Lenny: Yeah! I think in an ideal world, everybody would walk into a theater without knowing anything about the movie they’re going to see. Obviously there are many reasons why we have to tell people a little bit about the film. Particularly in the case of Room, if all you knew was the very bare outline, you might think, “That sounds a little bit too tough for me.” In fact, what it is is a very uplifting and life-affirming film. To tell that to people is pretty important, I think. But you are still my ideal viewer. If I was Stalin and I could make people go and see my film, I wouldn’t tell them anything about the story! [laughs] Then the film gets to play with your expectations.

Some people mistake the movie’s setting as post-apocalyptic in the first half.
Lenny: One of the great things about cinema is, once a person buys a ticket to the theater, you now you’ve got them for a while. It’s not like TV where they have the remote in their hand. One of the great advantages of seeing a movie in a theater is that it allows the filmmaker a larger canvas to place you in the world at their own pace. There’s something about that opening that puts you in the head of the child. You wake up and you don’t learn anything he’s not bringing you. If at the beginning you really established what the world was and then went in, you’d have already created this external perspective.

What I wanted to do was tie you to the boy. You’re getting these hints that, in the world of his mother, there’s more tension and danger than he’s aware of. That’s really the condition of all parents and children. This is an extreme version of it so that you can really examine what parenthood is all about. Loving parents constantly present one face to their child, which is almost always confident and reassuring, trying to make things that are worrying to them not worrying to the children. In other words, there is an outside world and an inside world, and the inside world is the face you show to your child. Those are the kinds of little permeable barriers that we were really fascinated with. This is a film about being a child and having children and growing up. The rest of it is a way of unlocking some universal aspects of those things by picking this remarkable and unusual situation.

Brie’s career is really starting to catch fire. I think there’s a lot of warmth and intellect to her that makes her special. What makes her special to you?
Lenny: I think you said it. She started acting when she was seven. That process, that transition from who you are and into character, it’s like riding a bicycle to her because she’s done it so many times. She doesn’t have to think about it. What’s great about that is that she has a lightness of touch as an actor. She’s not walking around super intense on set, unable to make eye contact, desperate to keep in character for fear that if she steps out she’ll lose it. She has it so firmly in her grasp. That means, as a director, after you call cut, the person that comes back to you is ready to talk about what she’s just done, she’s ready to talk about alternatives. She’s not saying she can’t play it any other way because “this is how I feel it.” She can feel it lots of ways. She’s a shape-shifter in that way.

Sometimes we have a tendency to believe that the super-intense actors are the only ones who are deep. That’s absolutely not true. I don’t think I’ve seen a stronger lead performance for a long time than Brie in this film, and yet she manages to still participate in the overall conversation about the film. She’s very warm and very present. That’s very important because we’ve got a little boy on set who’s paired with her for so many scenes in the film. You can imagine if she was just flouncing off to her trailer when we called cut or if she didn’t want to play with him. You’d lose what makes that relationship special onscreen. She’s remarkable.

Cinematographer Danny Cohen is very talented. There are some clear cinematic challenges the first half of the film presents. What were some of the challenges the second half presented?
Lenny: That’s interesting. As soon as we got out of Room we missed it a bit, sort of like the characters in the film. In the second half I think the challenge was to over-express the largeness of the world. It’s really tempting to say, “Now we’re out of Room. Let’s have really wide shots.” We shot very naturally when we got out of Room. We don’t use super wide lenses or anything like that. As an audience, you’ve already been inside for 45 minutes. I wanted to say, the world as it is, without me exaggerating it, is pretty amazing. If I exaggerated, I’d be cheating. I wouldn’t be showing you something real. For me it’s always about making those little hints invisible to the audience. As soon as people think they’re being told something, it’s just less powerful.

The Room world is Jake’s normal world. Once you get into the outside world, how do you deal with how overwhelming that is for him? We did use some techniques. We were more likely to do some point-of-view stuff. If he’s sitting on Ma’s knee, we take shots from his point of view through her hair. The cutting style is a little more disjointed. His attention is on these details. Why can kids be irritating? Clearly, in this room, the focus is us talking. Come on, it’s obvious! A kid is just as interested in [some other little thing in the room]! You think, “Can’t you tell what’s important?” The answer is no—everything’s important if you’re a kid.

You’ve found success with this film. Does success worry you?
Lenny: Choice can be paralyzing as well as empowering. The answer for me is that I continue to pursue the things I’m interested in. The hope is that it’ll be easier to pursue now. I feel that some of the projects I’ve been developing for a while are big and challenging. That’s the hardest thing to make—big and challenging. Small and challenging is okay, big and mainstream is okay. Room was a very challenging film to make, and the fact that it worked shows that I can take difficult material and do something with it. That’s what I intend to do for the next few years.

There’s that interesting dynamic that develops later in the film where Ma almost becomes an older sister rather than a mother.
Lenny: It’s something that happens to everybody when they go back to their parents’ house. They go back to whatever teenage version of themselves they were and get grumpy. This is an extreme version of that because she’s literally been plucked out from there and when she comes back, she hasn’t moved on from that 17-year-old self. I felt that the best way of us feeling really worried for Jack was to feel that his mother isn’t this person that is there or him in this really nurturing way. She’s this older sister who’s irritating and clingy. We actually improvised a line that wasn’t in the film: As she’s dragging him out of her bedroom as he’s watching Dora the Explorer on his phone, she says, “Always in my room,” which is what an older sister would say.

The law of averages reminds us that for all the great movies we see each year, there will inevitably be stinkers. Lots of them. And while we love to support our fellow cinema cohorts, sometimes we have to call out the weak—after all, ‘A’ for effort only counts in grade school. Some of the worst films we saw in 2014 included the latest from perennials Adam Sandler, Nicolas Cage, and Kevin Costner, as well as a nonsensical sci-fi that stars Johnny Deep, and a corny fairy tale romance film with Colin Farrell and Jessica Brown Findlay. So if time is a valuable asset to you, there are plenty of better options from 2014 than what you’ll find below.

Way Too Indie’s 10 Worst Films of 2014

The Amazing Spiderman 2

When Sony announced they were rebooting the Spider-Man film series it was pretty shocking, but could we really blame them? The reboot was scheduled only 5 years after Spider-Man 3, which was an unprecedented turnaround (which has now already been topped), quick enough to still have the icky flavor of that disaster on our taste buds. Sony and indie director Marc Webb had the perfect opportunity to take a beloved character and revamp him for this new age of comic book movies. Instead, they inexplicably seem to have not learned anything from Spider-Man 3‘s biggest no-nos. There are too many baddies without enough time to properly develop them, uninspired action setpieces, and special effects that probably cost more than they show on screen. Worse yet, the new film franchise is building some mysterious plot around its edges involving Peter Parker’s father involvement, potentially moving toward the idea that this is some sort of destiny for the web slinger. Not only does this totally contradict the spirit of what makes Spider-Man great (this could have been any of us), but is so clumsily handled that it drags down the fun momentum the film should have. Spider-Man is not Batman, and he shouldn’t be hamfisted into a brooding, serious backstory. Luckily, this may be the last Spider-Man film we get from Sony, at least for a long while. The Amazing Spider-Man 2 should stand as a lesson for other studios who want to continuously re-churn their properties with the sole intention of making quick and easy money. [Aaron]

A Million Ways to Die in the West

Seth McFarlane is of course well-known for his highly successful animated TV series Family Guy and just a couple of years ago broke into film with his directorial debut Ted; the popular film about a stuffed teddy bear who comes to life and out-drinks and out-fornicates the world. When I saw the preview for A Million Ways to Die in the West, I have to admit I was a little excited. I really enjoyed the genre mashups McFarlane did in his previous efforts.

The movie came out and bombed hard with audiences and critics both agreeing that it was terrible. When I finally did see it, I was pretty shocked at how bad the film actually was. Nearly every joke falls flat on its face, the musical numbers are uninspired and there is a drug influenced fantasy sequence that goes on way too long. The cast does their best to have fun with the material, especially Charlize Theron and Sarah Silverman (show steals every scene she’s in), but it’s not enough to save this unfortunate misfire. A Million Ways to Die in the West isn’t the worst film of 2014, but its damn close. [Blake]

Blended

Adam Sandler reuniting with Drew Barrymore, who were both equally charming in 50 First Dates, offered hope that this might be a rare gem in Adam Sandler’s quite considerable list of poor films over the last few years. Sandler and Barrymore both star as single parents, Jim and Lauren, who, after a dreadful blind date, find themselves together with their families in a resort in Africa. However, whilst 50 First Dates was funny and quirky, Blended is dull, formulaic and its jokes often fall flat. This is due to lazy writing with many of the film’s characters portraying one-dimensional stereotypes. Some of these stereotypes could be considered sexist. For example Jim’s daughter Hilary only begins to feel confident and content once she starts to behave like a ‘real’ woman, wearing pretty dresses and curling her hair. Blended is a frustrating film because there are brief (admittedly, very brief) glimpses of what could have been an interesting film exploring life as a single parent. However, any insight is buried beneath a thick layer of over-sentimentality and terrible, misjudged jokes that should have been left on the cutting room floor. [Eddy]

Draft Day

Draft Day is an inexplicable creation, a movie based on the least exciting televised professional sports event outside of curling. Kevin Costner stars as the general manager of the Cleveland Browns on the morning of the NFL college players draft. A series of phone calls introduce all the major characters while the actors explicitly explain each person’s stakes to one another. Logos for the league, its teams, and the NFL’s major sponsors are plastered across the screen for the duration of the film. The movie’s most striking technique is also its most irritating, as Draft Day accommodates for the tedium of the story’s never-ending string of phone calls by bizarrely splicing the split-screen together so characters walk through one another’s shots. The cuts are baffling and hugely distracting, but for a hardcore football fan (seemingly the film’s core audience) even more baffling is the list of fireable offenses committed by Costner’s Sonny Weaver Jr. character. It’s okay though, Draft Day’s warped logic allows everything to work out in the end. Costner even gets a kiss from Jennifer Garner, an actress 17 years younger than The Untouchables star (that movie came out when Garner was 15). [Zach]

Frank

Frank was, for me, a torturous experience, a film with a terrific cast spouting lines from a script filled with one quirky, offbeat horror after another. The film follows a young wannabe musician (Domnhall Gleeson) as he joins a band filled with eccentricities, the biggest one being its lead singer (Michael Fassbender) and his giant mask that never comes off. There are plenty of stupid, unfunny ways Frank suffocates viewers with quirk or twee: Frank speaking his emotions aloud, a viking funeral, groan worthy on-screen graphics, an unpronounceable band name, and the “out there” music itself (it’s actually pretty mediocre). It intends to charm, but in reality it feels more like someone taking a cheese grater to my eyes and ears. And worst of all, these horrible idiosyncrasies are meant to serve as character development. Frank is a dreadful film, one I hope to forget as soon as possible. [C.J.]

Left Behind

What do Lea Thompson, Chad Michael Murray, and Jordin Sparks have in common? They all decided to join Nicolas Cage in declaring to the world their desire to no longer take themselves seriously as actors by participating in this remake of the straight-to-video Kirk Cameron film. Based on the Tim LaHaye book series that won the 2007 Evangelical Christian Publishers Association Pinnacle Award, the storyline stems from the Evangelical interpretation of the biblical book of Revelation as an outline for the end times. Every character is a two dimensional stereotype and every scene is a neon sign blinking to tell you exactly what you should be thinking and feeling. As a comedy, it’s brilliant: people vanishing out of their clothes, hundreds of extras feigning mass hysteria, and the not-so-subtle message of judgement on everyone not wearing Jesus jewelry. I love a good apocalyptic film as much as the next, but the fact that this movie is directed by a stunt coordinator extraordinaire tells us exactly what their goal was. If there were going to be a Rapture, this movie would be left behind. Also, Cassi Thomson looks and sounds exactly like Kristen Bell. There, I said it. [Scarlet]

The November Man

The aura of Pierce Brosnan wielding a gun, saving a woman, and on the run from his own secret agents, can be very attractive for those who miss him as James Bond. If you ask me, he comes right after Sean Connery in being the best man to play 007 on screen. This is what The November Man was meant to ride on. Hell, the tagline on the poster is “A Spy Is Never Out Of His Game.” It may as well have said: “See Brosnan Be A Spy Again.” Of course, the film is based on a series of books from the ’80s by Bill Granger dubbed “The November Man” novels, and the film specifically adapts the seventh book of the series, There Are No Spies. So, it’s really a film that wants to have the kind of James Bond appeal based on a novel that rides on the Ian Fleming appeal. Don’t know much about the novel, but I do know – unfortunately – too much about the movie.

The November Man uses way too many cliches and hits in the most predictable of spots to warrant even as mildly exciting. Depending on what kind of mood you’re in of course. If you want to switch off the ol’ brain and just watch Pierce Brosnan outsmart everyone around him, then this film is good for that. But, that’s all it really is good for which ultimately renders it not very good at all, and decent at best. The story is a butchered half-measured version of every spy tale ever told, the characters are under-developed cartoonish cardboard cut outs, and the uniqueness of using Belgrade as a location is wasted in that it doesn’t factor into the story at all. The November Man is recommended to hardcore Brosnan fans only, the rest of the world would have their time better spent elsewhere. Like watching an old James Bond film, or something. [Nik]

Tammy

After an Oscar-nominated turn in 2011’s Bridesmaids, Melissa McCarthy had a scorching 2013, appearing in Identity Thief, The Hangover Part III, and The Heat (for a total domestic box office take of $400+ m). This gave the actress enough creative muscle to co-write and co-produce her own headlining film, Tammy. The film is meant to showcase McCarthy’s comedic talents, but instead she and co-writer/co-producer/director/husband Ben Falcone create a film that’s not just bad because it’s painfully unfunny, it’s lazy. Rather than create something new for herself, something that might stretch her acting abilities or take her down a darker comedic path, McCarthy creates a character that is a shallow imitation of The Melissa McCarthy Character from other comedies. It’s as if McCarthy the Writer doesn’t know what McCarthy the Comedian is truly capable of. Thus, she creates something she thinks the audience wants instead of creating something original. What she presents on-screen is a bad SNL skit running 97 minutes. [Michael]

Transcendence

Outlandish ideas are part of what makes science fiction so exciting and logistics isn’t the point of something like Inception, a film that earned Transcendence director Wally Pfister an Oscar for his cinematography work. So it’s possible for a technology enthusiast such as myself to ignore most of the ludicrous high-tech sci-fi elements that plague Transcendence. Truth be told, the idea of uploading a man’s consciousness on a server to become an evolving self-aware intelligent program sounds just as exciting and ambitious as it does far-fetched. So let’s pretend for a moment that the film doesn’t attempt to “shut down” the Internet and talk about what really makes the film one of the worst of 2014. For starters, Transcendence takes no advantage of its seasoned acting department, somehow capturing uninspired performances from Johnny Depp, Morgan Freeman, and Kate Mara. Then there’s the half-baked script full of heavy-handed cues like having “unplug” tattooed on Depp’s forearm, character motivations that rarely make sense, and nonsensical tech jargon it doesn’t seem to understand. The film is like that annoying person who uses obscure Word of the Day references just for the sake of sounding intelligent. While Pfister’s background serving as Christopher Nolan’s director of photography shines through here with stunning imagery, it’s clear this is his first attempt at directing a film. Poor execution in nearly every facet undermines any message about technology it attempts to get across. [Dustin]

Winter’s Tale

The fun of film is that as much as studios may try, there isn’t a surefire recipe for box office success. But damned if they don’t still cook up a storm and shove it down our throats anyway. Winter’s Tale is one part a-list talent, the likes of which include Russell Crowe, Colin Farrell, Jennifer Connelly, Will Smith, and Jessica Brown Findlay of Downton Abbey fame, with a heavy dose of mythical, epic romance set amidst a battle of good versus evil, and decorated with period costuming, a CG pegasus, dual time periods, and baked on high in the momentum of the best-selling book it’s based on. But someone forgot to stick a fork in this cake and call it done.

This adaptation inclines one to think that either a) the book is awful or b) we’re missing some key elements. Like any sort of character depth for one. Instead we’re expected to digest Colin Farrell’s thief Peter Lake giving up his trade to fall in love with Findlay’s dying Beverly Penn after one brief encounter as he attempts to rob her. Add to the confusion Farrell’s distracting haircut, Crowe’s incredibly misunderstood demon complete with CG scary faces and a misplaced accent, an entirely out of place Will Smith as the devil, and worst of all, a full-stop storyline end three quarters of the way in followed by a rushed and overly sentimental ending. In the end the tastes that linger are not of magic, destiny, or romance, but instead the taste of having bit into fake display food. All show, no taste. [Ananda]

No matter the mixed criticism of Frank, one thing the film makes obvious is more bands should be using theremins. That’s not just a frivolous statement, it’s part of the movie’s sugarcoated message on the value of sticking out, embracing your limits, and not concerning oneself with the number of views one’s video gets on YouTube. Once the movie stops being a whimsical comedy about a troupe of misfit musicians, it starts to take itself a little too seriously and all of a sudden the xylophone stops and the brooding drama starts. This drastic tonal switch from quirky silliness to serious quirkiness ultimately drags Frank down from being a good comedy to being just a mediocre dramedy. But hey, it has Michael Fassbender playing a guy who wears a ridiculously oversized head so that alone will be enough for some viewers.

Dominic Gleeson takes on the role of Jon, an inspiring singer-songwriter who has 14 followers on Twitter and punches the clock in a dead-end office job. As fate would have it, he witnesses a man trying to drown himself who happens to be the keyboard player of an underground eccentric pop band Jon admires. When he tells the band’s manager Don (Scoot McNairy) that he too plays keyboards, he gets the gig, and without further ado finds himself traveling to a remote cabin to record an EP as the band’s new keyboard player. Headlining the band is the mysterious Frank (Fassbender) who is like a walking-talking bobble head because of the outlandish mask he refuses to take off (even while showering.) Rounding off the band members are Clara Vagner (Maggie Gyllenhaal) on the Theramin, Nana (Carla Azar) on the drums, and Baraque (François Civil) on the guitar. Once he gets to the cabin, Jon realizes that this is no mere band practice session, and decides to completely devote himself to the band; seeing it as an opportunity to better his own skills. As the Twitter followers grow, and the band spends months preparing to record, an upcoming gig at the South By Southwest festival in Austin creates an opportunity for their biggest show yet. But, with everyone’s eccentricities engaged at maximum levels, how will this band ever be able to cope with fame?

Before the third act sours up the mood, Frank is an enjoyable enough romp filled with a colorful cast of characters and a pleasant atmosphere. Although, it must be said, the insufferable score by Stephen Renicks and Gleeson’s narration evocative of an adventure in Middle Earth or a Hogwarts school excursion paint the picture in way too thick of a dainty coat. With the way the characters are written (we’ll have a French guy who only speaks in French but everyone understands him! We’ll have the bitchy one who hates conformity! Etc.) and the overemphasis on Frank’s free spirit, it all leads to an aggravating sense of self-awareness and attention seeking. The only saviors end up being Gyllenhaal’s hilarious performance (watch her deliver lines like “Your furthest corners? Someone needs to punch you in the face” with perfectly bottled angst), some of Frank’s unpredictable characteristics which include speaking perfect German to an unsuspecting family, and the genuine humor protruding through the dainty surface. And for those wondering about Fassbender’s performance: I’ll just say that he’s best when he’s got the head on and leave it that.

Also deserving of praise is James Mather’s cinematography, adding a nuance that is unexpected. Images of Frank meditating in the forest, or characters caught lamenting by the windowsill are artistically captured and do well to boost the film’s qualities. Alas, the film starts to change clothes before growing into them and while the SXSW section provides some of the biggest laughs (Frank’s most likeable song is a personal favorite of mine,) they ultimately can’t compensate for the transparently calculated conclusion and message, which brings the whole self-awareness aspect right back on centre stage. Fans of Gyllenhaal and Fassbender will still enjoy themselves with Frank, but my advice is not to take the film as seriously as it takes itself and simply enjoy sharing the company of weirdos.

In theaters August 15

We’re already halfway through 2014, so that means it’s time to take a look back over the last 6 months and see what’s stood out. As a preview for our staff list of the 15 best films of 2014 so far, a few of us will be pairing up and going through our top five films of the year.

Welcome to the second installment of a three part Hangout series of our Best Films of 2014 (So Far). In this video, Ananda and I talk each talk about our Top 5 films of 2014. Watch our Hangout to see where we agreed and disagreed on each other’s list! We also discuss a couple honorable mentions that didn’t quite make our list.

Be sure to check out our Part 1 of this series and look out for the final Part 3 of our Best of 2014 (So Far) Hangouts, where our Midwest writers Dustin Jansick and Blake Ginithan discuss their picks.

Bernard’s Top 5

#1  Under The Skin (review)

#2  The Grand Budapest Hotel (review)

#3  The Raid 2 (review)

#4  Locke (review)

#5  Tim’s Vermeer (review)

Ananda’s Top 5

#1  The LEGO Movie

#2  Snowpiercer (review)

#3  The Grand Budapest Hotel (review)

#4  Only Lovers Left Alive (review)

#5  Frank

Hangout Timestamps

0:00 – 2:20 – Intro
2:21 – 7:30 – Honorable Mentions
7:31 – 10:00 – Ananda’s #5
10:01 – 13:13 – Bernard’s #5
13:14 – 18:25 – Ananda’s #4
18:26 – 21:49 – Bernard’s #4
21:50 – 27:30 – Ananda’s #3
27:31 – 31:00 – Bernard’s #3
31:01 – 35:35 – Ananda’s #2
35:36 – 38:00 – Bernard’s #2
38:01 – 47:05 – Ananda’s #1
47:06 – 53:15 – Bernard’s #1
53:16 – 54:10 – Recap of lists
54:11 – 60:00 – Looking ahead

Saturday at the Los Angeles Film Festival has been full of laughers, but the quirkiest among them is likely Lenny Abrahamson’s Frank. The film first premiered at Sundance in January and will get a limited release in August. Following musician wannabe Jon (Domhnall Gleeson) as he randomly connects with a bizarre pop group called Soronprfbs (don’t worry, no one in the film knows how to pronounce it either) playing one random show with them before they quickly adopt him to be their keyboardist and whisk him away to a remote cabin in Ireland to record their album. Led by the eponymous Frank (Michael Fassbender), who at all times wears a large cartoonish head in the style of Frank Sidebottom (writer Jon Ronson played in Frank Sidebottom creator Chris Sievey’s band and based the script on some of his experiences), Jon is thrown into the oddest of circumstances.

He observes the off-beat musical styles of his bandmates. Clara (Maggie Gyllenhaal) and her electronic frequency manipulator, Nana (Carla Azar) the drummer, Baraque (Francois Civil) the guitarist, and the most mental of them all, the band’s manager Don (Scott McNairy). Frank’s unusual music methods put the band members in awkward and hilarious situations as they wait for inspiration to strike before they begin recording their album. A door opening and closing is music to Frank’s ears, drills up and down the lawn inspire musical expression, hours and hours of non-stop playing for Frank’s high standard of perfection. Jon documents their endeavors with YouTube videos and Twitter updates, to the point where without having much to show for themselves, the band has a small cult following. The band finally records their album and though Jon’s blown through his inheritance to fund the band, he feels on the verge of a personal musical breakthrough. When the band is asked to take part in the SXSW music festival, Jon argues against the fiercely protective Clara to get Frank and his band to enter the mainstream world and play in America. Inspired at the thought of others loving their music, Frank agrees and they set out for Texas. However, when Jon encourages last-minute changes to their music to appeal more to the masses, his egotism costs them greatly as Frank becomes derailed from being true to himself.

The film is charming and at parts laugh out loud funny. Despite having any sort of face to work with, Fassbender creates a likeable if disturbed portrayal of Frank. Maggie Gylenhaal is guaranteed to shine when allowed some venom in her characters and she can be truly frightening with her mania. The film’s juxtaposition of pop culture and indie culture and the fine line between them makes for humorous irony. Audiences will laugh at the ridiculousness, but may not be moved in the end when it attempts to infuse a little humanity into the absurdity. While it ends poignantly, the film loses its steam by insulating Frank’s world and marking it unapproachable to outsiders. The song he sings at the end, mostly repeating his love for all, feels somewhat false, as catchy as it is. And considering the gravity Abrahamson choice to infuse in the end, the friendships Frank has seemed based on all around denial.

Whether audiences are able to live in that same land of denial is entirely subjective, but anyone wanting to laugh at the creative process at its quirkiest will enjoy Frank immensely. At its essence the film does show creating for oneself before others is a truer path to happiness, and with great performances all around, that theme is doubly felt.

I was pleasantly surprised in the amount of quality films that I saw at the 2014 SXSW Film Festival, although I admit that I was fairly selective in the titles I wanted to see. My favorites range from time-traveling comedies to 80s throwbacks to absurd cult deprogramming. There were only a couple letdowns in the little more than a dozen films I saw, but even those had at least some redeeming qualities to them. A quick list of the more buzzed about films at the festival that I didn’t get a chance to see (thus didn’t make my list); Boyhood, Wild Canaries, Buzzard, and 10,000KM (Long Distance).

7 Favorite Films From SXSW 2014

#7 – Frank

What makes Frank such an entertaining watch is its whimsical approach to the outlandish storytelling. I had a couple minor issues with the film, but as a whole Frank is a sidesplitting comedy about finding one’s inner creativity.
Frank review

#6 – Ping Pong Summer

Apparently it was the year for 80s throwbacks at SXSW. While The Guest (also on this list) is a throwback to the action/thriller genre from that era, Ping Pong Summer is a nostalgic family vacation story that is filled with just about every cheesy cliché from the decade. It’s totally rad!
Ping Pong Summer review

#5 – The Internet’s Own Boy: The Story of Aaron Swartz

You don’t have to be a tech geek to understand the brilliance of computer programming guru Aaron Swartz or the impact of his work that prematurely ended when extraneous federal charges pressured him into committing suicide. This documentary reminds us that limiting the access to information is crippling on all levels.
The Internet’s Own Boy: The Story of Aaron Swartz review

#4 – Open Windows

Serving as an exploitation of technology and a satire on our obsession with Hollywood stars, Nacho Vigalondo’s Open Windows is a high concept thrill ride with numerous twists and turns along the way. Comparisons to a 21st century Rear Window aren’t unjust.
Open Windows review

#3 – The Infinite Man

The Infinite Man is an impressive directorial debut from Hugh Sullivan who bravely tackles the complex subject of time-travel with relative comfort. Intending to fix an anniversary weekend gone awry, the main character creates a machine to travel back in time to save his relationship.
The Infinite Man review

#2 – The Guest

The only midnight film I caught at the festival happened to be one of my favorites. The Guest is a 80s inspired atmospheric thriller that wonderfully combines Terminator like action with a pulsating soundtrack and thrills of Halloween. This is the perfect film to watch with a rowdy midnight crowd.
The Guest review

#1 – Faults

One of the most unique films I saw at the festival this year was an off the wall comedy called Faults, a film about an eccentric cult deprogrammer who is hired by a couple to help snap their daughter out of a cult spell. Faults is completely absurd and challenging in all the right ways.
Faults review

Frank

An aspiring keyboardist named Jon (Domhnall Gleeson) stumbles into an impeccable opportunity when he walks passed a band that just so happens to need a keyboardist after theirs recently tried to drown himself in the ocean. The best part about this band is that the lead singer, Frank (played by Michael Fassbender), wears a giant papier mache head at all times—even while sleeping and eating, making those situations hysterical. When Jon asks the band member how Frank is able to brush his teeth, he is given the perfect reply, “You’re going to just have to go with it.” It’s this kind of tongue-in-cheek attitude that makes Frank so entertaining to watch.

Unfortunately, Frank doesn’t always bother to follow its own rules. Inside of the third act, the film felt obligated to explain too much of its self, disrupting the go with the flow mentality that came before it. That being said, Frank is still an absurdist comedy about discovering inner creativity that is worth seeking out–especially at SXSW since the festival makes an appearance in the film.

RATING: 7.3

The Guest

Perhaps the most exciting collaboration in the horror genre as of late is director Adam Wingard and writer Simon Barrett. Together the duo has previously worked on the V/H/S series and more recently in the horror/comedy You’re Next. Continuing with their trend of genre mashing, their latest effort in The Guest takes the action and badassery of The Terminator and mixes it with the style and sound of Halloween.

A solider (Dan Stevens) shows up at a door claiming to know the owners son before he passed away in the war. He is a charming man with hypnotic blue eyes and is handsomely built. The family accepts him into the house after he plays his cards right, radiating more cool than even Ryan Gosling could exude. Eventually one of the family members begins to grow suspicious of him after showing signs of trying to hide his true identity.

Using the same equipment used on the soundtrack of John Carpenter’s Halloween 3, the energetic synth soundtrack in The Guest superbly produces the pacing for the mayhem that unfolds. Even though the main character is clearly the villain, I found myself still rooting for him at times—like when he helps one of the family members from being bullied at school. The Guest is like an atmospheric 80s action thriller that is intentionally overacted and exaggerated. The story is not very elaborate, but that doesn’t matter when you’re having this much fun.

RATING: 8.2

After last year’s surprise breakout film Short Term 12, many people are wondering if the SXSW Film Festival will premiere another indie sensation. Only time will tell if lightning will strike twice in Austin, but at the very least the festival’s reputation is at an all-time high. With a hefty lineup of 133 feature films, there are plenty of independent films to choose from, but I managed to narrow down ten of my most anticipated films at the 2014 SXSW Film festival.

I will be attending SXSW this year for Way Too Indie, so make sure to check back for coverage and follow us on Twitter for instant updates.

Creep

I am not ashamed to admit that the main reason Creep landed on this list is because Mark Duplass is listed as a co-writer and lead actor. And then I read the wacky synopsis for the film–a man strapped for cash comes across a Craigslist ad for a $1,000 one-day job in a remote mountain town, but then discovers that the client may not be who he says he is. Adding to the overall intrigue, Creep supposedly fits into the genres of comedy, horror, and romance; a curious mixture that I cannot wait to witness.

Frank

Despite receiving a mixed response from its premiere at Sundance, Frank remains a must-see for me at the festival. This oddball comedy features Michael Fassbender as the mysterious musical genius who spends the majority of the film wearing a gigantic plastic head. The satirical tone of the film looks to be only outmatched by its absurdity, making it easy to understand why audiences are so divided on Frank.

Open Windows

Open Windows is Spanish filmmaker Nacho Vigalondo’s third feature film and the first of which to be in the English-language. This is a real-time suspense thriller about a man’s desperate search to track down his abducted girlfriend. Open Windows is said to be heavily influenced by ‘70s paranoid thrillers and is shown through the point of view of a screen on a laptop computer. I am excited to see what the filmmaker has up his sleeve, considering his history of making high-concept sci-fi thrillers (Timecrimes and Extraterrestrial).

Boyhood

Richard Linklater’s coming of age drama, Boyhood, received the Best Director award a couple weeks ago at the Berlin Film Festival. This ambitious project follows a family over the course of 12 actual years, which allows the audience to observe the cast members mature as they would in real life. Although Boyhood is not a documentary like Michael Apted’s Up series, Linklater experiments with a similar concept and the results could be quite intriguing.

Animals

In his first full-length feature, Collin Schiffli’s Animals tells the story of a troubled young couple who live out of their car and rely on stealing in order to survive. The reality of their situation is realized when one of them gets hospitalized. The film stars David Dastmalchian (Prisoners, The Dark Knight) and Kim Shaw (The Good Wife) and has one of the founding members of Passion Pit (Ian Hultquist) as the composer for the original score.

The Heart Machine

After combing through the entire festival lineup (a daunting task), The Heart Machine caught my eye for a few reasons. The primary reason is that the film stars John Gallagher Jr., who was the talk of the town in Austin after starring in last year’s Short Term 12. Another attention-grabbing credit is the director Zachary Wigon, a current film critic for The Village Voice. Lastly, the idea behind the film is fascinating–a man in a long-distance relationship begins to suspect his girlfriend to actually be living in the same city as him all along.

Joe

There are many reasons why the film Mud comes to mind when looking at David Gordon Green’s Joe. Not only are both films named after the three-letter name of their main character, but both films also star Tye Sheridan as a young kid who forms an unlikely bond with said characters. This indie film might just be what Nicholas Cage’s career needs at this point in order for people to start respecting him as an actor again.

Oculus

Our very own C.J. Prince caught Oculus last year at the Toronto International Film Festival and praised the film for its originality and well-written screenplay. Mike Flanagan’s Oculus will screen in the Midnighters section of SXSW, a program that features various hair-raising horror films to a midnight crowd. The film centers on an antique mirror called the Lasser Glass, which forces its owners to harm themselves as well as others. There is a good chance that audiences in Austin are going to be freaked out by the film, I surely hope I am as well.

The Guest

Another film I want to see from the Midnighters program is Adam Wingard’s The Guest. Similar to his recent work in You’re Next, Wingard seems to mix together equal parts humor and horror in this throwback thriller. The Guest received unanimously positive responses from the midnight crowd during its world premiere at Sundance earlier this year. And I expect similar results at SXSW.

Before I Disappear

Based on his 2013 Academy Award winning short film Curfew, Shawn Christensen’s film is about a man whose suicidal thoughts are suddenly interrupted by a phone call from his estranged sister. The wide range of emotions he was able to pack into a short film impressed me, but I wondered how the film would transition into a full-length feature some day. Luckily, I will not have to wonder for much longer.

The dust is now settling in Park City after Sundance finished up a week or two ago, meanwhile the people in Austin are getting prepared for the onslaught of crowds for the SXSW festival of films, music, and technology. Today the lineup for the 2014 SXSW Film Festival has been revealed. As usual, there were a couple Sundance standouts such as Richard Linklater’s Boyhood and Lenny Abrahamson’s Frank that will be making an appearance at the festival. Other noteworthy titles in the lineup include; Creep that was written by and stars Mark Duplass, Nacho Vigilondo’s Open Windows, David Gordon Green’s Joe, Nicholas Stoller’s Neighbors, Bad Words, and many, many more. See the full list of films below.

I will be attending SXSW this year, so be sure to check back for coverage and follow us on Twitter for instant updates.

SXSW 2014 Full Lineup

NARRATIVE FEATURE COMPETITION

Eight world premieres, eight unique ways to celebrate the art of storytelling. Selected from 1,324 films submitted to SXSW 2014. Films screening in Narrative Feature Competition are:

10,000KM (Spain)
Director: Carlos Marques Marcet, Screenwriters: Carlos Marques-Marcet, Clara Roquet Autonell
A year of a long distance relationship, two computers and two cities – Los Angeles and Barcelona, can love survive 6,000 miles? Cast: Natalia Tena, David Verdaguer (World Premiere)

Animals
Director: Collin Schiffli, Screenwriter: David Dastmalchian
Jude and Bobbie are a young, homeless couple who masterfully con and steal in an attempt to stay one step ahead of their addiction. They are ultimately forced to face the reality of their situation when one of them is hospitalized. Cast: David Dastmalchian, Kim Shaw, John Heard (World Premiere)

Before I Disappear
Director/Screenwriter: Shawn Christensen
Based on the 2013 Academy Award® winning short film Curfew. At the lowest point of his life, Richie gets a call from his estranged sister, asking him to look after his eleven-year-old niece, Sophia, for a few hours. (World Premiere)
Cast: Shawn Christensen, Fatima Ptacek, Emmy Rossum, Paul Wesley, Ron Perlman, Richard Schiff

Fort Tilden
Directors/Screenwriters: Sarah-Violet Bliss, Charles Rogers
It shouldn’t be this hard for Allie and Harper to get to the beach. (World Premiere)
Cast: Bridey Elliott, Clare McNulty, Griffin Newman, Jeffrey Scaperrotta, Neil Casey

The Heart Machine
Director/Screenwriter: Zachary Wigon
A man begins to suspect that his long-distance girlfriend, whom he met online but has never met in person, has been living in the same city the whole time and sets out to find her. (World Premiere)
Cast: John Gallagher Jr., Kate Lyn Sheil, David Call, Louisa Krauss

I Believe in Unicorns
Director/Screenwriter: Leah Meyerhoff
I Believe in Unicorns follows the lyrical journey of an imaginative teenage girl who runs away from home with an older punk rock drifter, but not even unicorns can save her now. (World Premiere)
Cast: Natalia Dyer, Peter Vack, Julia Garner, Amy Seimetz, Toni Meyerhoff

The Mend
Director/Screenwriter: John Magary
A dark comedy about rage, doubt, lust, madness and other brotherly hand-me-downs. (World Premiere)
Cast: Josh Lucas, Stephen Plunkett, Lucy Owen, Mickey Sumner, Austin Pendleton

Wild Canaries
Director/Screenwriter: Lawrence Michael Levine
When their elderly neighbor suddenly drops dead, a young Brooklyn couple investigates signs of foul play. (World Premiere)
Cast: Sophia Takal, Lawrence Michael Levine, Alia Shawkat, Annie Parisse, Jason Ritter

DOCUMENTARY FEATURE COMPETITION

Selected from 892 submissions, the eight world premieres in the Documentary Feature category bring real world stories to life, demonstrating innovation, energy and bold voices.

Films screening in Documentary Feature Competition are:

Beginning With The End
Director: David Marshall
Beginning With the End takes viewers on a profound, and profoundly moving, journey with a group of high school seniors working as trained hospice volunteers — a story of beginnings and endings in a year of self-discovery and awakening. (World Premiere)

Born To Fly
Director: Catherine Gund
Born To Fly pushes the boundaries between action and art, daring us to join choreographer Elizabeth Streb and her dancers in pursuit of human flight. (World Premiere)
*SXsports screening

The Great Invisible
Director: Margaret Brown
Penetrating the oil industry’s secretive world, The Great Invisible examines the Deepwater Horizon disaster through the eyes of oil executives, explosion survivors and Gulf Coast residents who were left to pick up the pieces when the world moved on. (World Premiere)

The Immortalists
Directors: Jason Sussberg, David Alvarado
Two eccentric scientists struggle to create eternal youth in a world they call “blind to the tragedy of old age.”  As they battle their own aging and suffer the losses of loved ones, their scientific journeys ultimately become personal. (World Premiere)

Impossible Light
Director: Jeremy Ambers
Impossible Light reveals the drama and the daring of artist Leo Villareal and a small team of visionaries who battle seemingly impossible challenges to turn a dream of creating the world’s largest LED light sculpture into a glimmering reality. (World Premiere)

Mateo
Director: Aaron I. Naar
Mateo follows America’s most notorious white mariachi singer on his misadventures in Cuba. (World Premiere)

Print the Legend
Directors: Luis Lopez, Clay Tweel
The 3D Printing revolution has begun. Who will make it? (World Premiere)

Vessel
Director: Diana Whitten
A fearless sea captain, Dr. Rebecca Gomperts, sails a ship through loopholes in international law, providing abortions on the high seas, and leaving in her wake a network of emboldened activists who trust women to handle abortion on their own terms. (World Premiere)

HEADLINERS

Big names, big talent: Headliners bring star power to SXSW, featuring red carpet premieres & gala film events with major & rising names in cinema.

Films screening in Headliners are:

Chef
Director/Screenwriter: Jon Favreau
Chef is a rich and vibrant comedy – the story of Carl Casper (Favreau), who loses his chef job and cooks up a food truck business in hopes of reestablishing his artistic promise. At the same time, he tries to reconnect with his estranged family.
Cast: Jon Favreau, Sofia Vergara, Scarlett Johansson, John Leguizamo, Bobby Cannavale, Dustin Hoffman, Oliver Platt, Robert Downey, Jr., Emjay Anthony (World Premiere)

Joe
Director: David Gordon Green, Screenwriters: Larry Brown, Gary Hawkins
A gripping mix of friendship, violence and redemption erupts in the contemporary South in this adaptation of Larry Brown’s novel. Cast: Nicolas Cage, Tye Sheridan
(U.S. Premiere)

Neighbors
Director: Nicholas Stoller, Screenwriters: Andrew J. Cohen, Brendan O’Brien
Seth Rogen, Zac Efron and Rose Byrne lead the cast of Neighbors, a comedy about a young couple suffering from arrested development who are forced to live next to a fraternity house after the birth of their newborn baby. Cast: Seth Rogen, Zac Efron, Rose Byrne, Christopher Mintz-Plasse, Dave Franco, Ike Barinholtz, Lisa Kudrow
(Worldwide Debut – work-in-progress)

Predestination (Australia)
Directors/Screenwriters: Michael Spierig, Peter Spierig
A riveting adventure through time centered on a secret government time traveling agency designed to prevent future killers and terrorists from committing their crimes.
Cast: Ethan Hawke, Sarah Snook, Noah Taylor
(World Premiere)

Veronica Mars
Director/Screenwriter: Rob Thomas, Screenwriter: Diane Ruggiero
Years after walking away from her past as a teenage private eye, Veronica Mars gets pulled back to her hometown, an ex-boyfriend with baggage, and an unraveling murder mystery.
Cast: Kristen Bell, Jason Dohring, Krysten Ritter, Ryan Hansen, Enrico Colantoni
(World Premiere)

NARRATIVE SPOTLIGHT

High profile narrative features receiving their World, North American or US Premieres at SXSW.

Films screening in Narrative Spotlight are:

Break Point
Director: Jay Karas, Screenwriters: Gene Hong, Jeremy Sisto
Two estranged brothers reunite to make an improbable run at a grand slam tennis tournament. The mismatched pair, with some unlikely help from a precocious 11-year-old boy, re-discover their game and their brotherhood.
Cast: Jeremy Sisto, David Walton, Joshua Rush, J.K. Simmons, Amy Smart (World Premiere)
*SXsports screening

CESAR CHAVEZ
Director: Diego Luna, Screenwriters: Keir Pearson, Timothy J. Sexton
Chávez chronicles the birth of a modern American movement led by famed civil rights leader and labor organizer, Cesar Chavez. Cast: Rosario Dawson, John Malkovich, Michael Pena, America Ferrera, Gabriel Mann (North American Premiere)

Faults
Director/Screenwriter: Riley Stearns
An expert on cults is hired by a mother and father to kidnap and deprogram their brainwashed daughter. He soon begins to suspect the parents may be more destructive than the cult he’s being hired to save her from. Cast: Leland Orser, Mary Elizabeth Winstead, Chris Ellis, Lance Reddick, Jon Gries (World Premiere)

The Frontier
Director/Screenwriter: Matt Rabinowitz, Screenwriter: Carlos Colungu
An estranged son travels back home to confront his overbearing father to see if there is any relationship left between them.
Cast: Max Gail, Coleman Kelly, Anastassia Sendyk, Katherine Cortez, Oliver Seitz
(World Premiere)

Kelly & Cal
Director: Jen McGowan, Screenwriter: Amy Lowe Starbin
Kelly & Cal explores the heartfelt, somewhat absurd moments in our lives when we seek out a little bit of extra attention. Cast: Juliette Lewis, Jonny Weston, Josh Hopkins, Cybil Shepherd
(World Premiere)

The Mule (Australia)
Directors: Angus Sampson, Tony Mahony, Screenwriters: Leigh Whannell, Angus Sampson
In 1983, a naive man is detained by Australian Federal Police with lethal narcotics hidden in his stomach. Caught, ‘The Mule’ makes a desperate choice…to defy his bodily functions and withhold the evidence…literally. Cast: Hugo Weaving, Angus Sampson, Leigh Whannell, Ewen Leslie, Geoff Morrell, Georgina Haig, Noni Hazlehurst, John Noble
(World Premiere)

A Night In Old Mexico (USA / Spain)
Director: Emilio Aragón, Screenwriter: William D. Wittliff
Forced to give up his land and home, Texas rancher Red Bovie isn’t about to retire quietly in a dismal trailer park. Instead he hits the road with his estranged grandson for one last adventure.
Cast: Robert Duvall, Jeremy Irvine, Angie Cepeda, Luis Tosar, Joaquín Cosio
(World Premiere)

Patrick’s Day (Ireland)
Director/Screenwriter: Terry McMahon
A young man with mental health issues becomes intimate with a suicidal air hostess but his obsessive mother enlists a dysfunctional cop to separate them.
Cast: Kerry Fox, Moe Dunford, Catherine Walker, Philip Jackson
(World Premiere)

Sequoia
Director: Andy Landen, Screenwriter: Andrew Rothschild
Faced with stage three cancer, a young woman sets out to end her life on her own terms, in Sequoia National Park. Cast: Aly Michalka, Dustin Milligan, Todd Lowe, Demetri Martin, Sophi Bairley
(World Premiere)

She’s Lost Control
Director/Screenwriter: Anja Marquardt
Ronah’s life unravels when she starts working with a new client, Johnny.
Cast: Brooke Bloom, Marc Menchaca, Dennis Boutsikaris, Laila
(North American Premiere)

Take Care
Director/Screenwriter: Liz Tuccillo
After being hit by a car, a woman (Leslie Bibb) comes home to realize her friends don’t really want to take care of her. Desperate for help, she turns to an unlikely source.
Cast: Leslie Bibb, Thomas Sadoski, Betty Gilpin, Michael Stahl David, Nadia Dajani
(World Premiere)

Thank You a Lot
Director/Screenwriter: Matt Muir
A struggling, two-bit music manager will lose his job unless he signs a reclusive country music singer, James Hand, who also happens to be his estranged father. Cast: Blake DeLong, James Hand, Robyn Rikoon, Sonny Carl Davis, Jeffery Da’Shade Johnson
(World Premiere)

Things People Do
Director: Saar Klein, Screenwriters: Joe Conway, Saar Klein
Bill Scanlin loses his job and embarks on a life of crime. As Bill stays ahead of the law, he discovers that sometimes the only thing worse than getting caught is getting away with it.
Cast: Wes Bentley, Jason Isaacs, Vinessa Shaw, Haley Bennett
(North American Premiere)

Two Step
Director/Screenwriter: Alex R. Johnson
Two Step is a fast-paced Texas thriller in which the lives of James, a directionless college dropout, and Webb, a career criminal with his back against the wall, violently collide.
Cast: Beth Broderick, James Landry Hébert, Skyy Moore, Jason Douglas, Ashley Rae Spillers
(World Premiere)

We’ll Never Have Paris
Directors: Jocelyn Towne, Simon Helberg, Screenwriter: Simon Helberg
We’ll Never Have Paris is a clumsy and at once human account of screwing up on a transcontinental level in a noble effort to win back “the one.” Cast: Simon Helberg, Maggie Grace, Melanie Lynskey, Alfred Molina, Zachary Quinto, Jason Ritter
(World Premiere)

DOCUMENTARY SPOTLIGHT

Shining a light on new documentary features receiving their World, North American or U.S. Premieres at SXSW.

Films screening in Documentary Spotlight are:

Above All Else
Director: John Fiege
A former stuntman and high wire artist puts his family and future on the line when he rallies a group of East Texas landowners and activists to blockade the controversial Keystone XL pipeline. (World Premiere)

Butterfly Girl
Director: Cary Bell
Abbie came of age in honky tonks, defying her life threatening disease, but all the while longing for an identity of her own. Now that she is 18, how much is she willing to sacrifice for her independence? (World Premiere)

DamNation
Directors: Travis Rummel, Ben Knight
This powerful film odyssey across America explores the sea change in national attitude from pride in big dams as engineering wonders to the growing awareness that our own future is bound to the life and health of our rivers. (World Premiere)

Doc of the Dead
Director: Alexandre O. Philippe
The definitive zombie culture documentary, from the makers of The People vs. George Lucas. Doc of the Dead traces the rise and evolution of the zombie genre, its influence on pop culture, and investigates the possibility of an actual zombie outbreak. (World Premiere)

Harmontown
Director: Neil Berkeley
A comedic, brutally honest documentary following self-destructive TV writer Dan Harmon (NBC’s Community) as he takes his live podcast on a national tour. (World Premiere)

LADY VALOR: The Kristin Beck Story
Directors: Sandrine Orabona, Mark Herzog
A former U.S. Navy Seal seeks life, liberty and the pursuit of happiness living life as a transgender woman. (World Premiere)

The Legend Of Shorty (UK)
Directors: Angus MacQueen, Guillermo Galdos
The Legend of Shorty is the story of a man and a myth. (World Premiere)

Manny
Directors: Ryan Moore, Leon Gast
From abject poverty to international hero, Manny Pacquiao rose to fame in the boxing ring. At the height of his career, Manny entered the political arena. As history’s only boxing Congressman, Manny is faced with a new challenge. (World Premiere)
*SXsports screening

Seeds of Time
Director: Sandy McLeod
Seeds of Time follows agriculture pioneer Cary Fowler’s global journey to save the eroding foundation of our food supply in a new era of climate change. (North American Premiere)

Supermensch
Director: Mike Myers
Mike Myers makes his directorial debut with this star-packed documentary about the legendary Shep Gordon, who managed the careers of Alice Cooper, Blondie, Luther Vandross, and Raquel Welch — and still had time to invent the “celebrity chef”. (U.S. Premiere)

That Guy Dick Miller
Director: Elijah Drenner
That Guy Dick Miller is the incredible true story of the wannabe-writer, turned accidental character-actor.
(World Premiere)

Wicker Kittens
Director: Amy C. Elliott
Every January, the country’s largest jigsaw puzzle contest is held in St. Paul, Minnesota. Wicker Kittens invites you to choose your favorite team and watch them try to put the pieces back together. (World Premiere) *SXsports screening

VISIONS

Audacious, risk-taking artists in the new cinema landscape that demonstrate raw innovation and creativity in documentary and narrative filmmaking.

Films screening in Visions are:

Arlo and Julie
Director/Screenwriter: Steve Mims
A neurotic couple’s obsession with a mysterious puzzle comically unravels their world, disconnecting them from reality and jeopardizing their fragile relationship.
Cast: Alex Dobrenko, Ashley Spillers, Chris Doubek, Sam Eidson, Hugo Zesati (World Premiere)

Beyond Clueless (UK)
Director: Charlie Lyne
Narrated by cult teen star Fairuza Balk, Beyond Clueless is a dizzying journey into the mind, body and soul of the teen movie, as seen through the eyes of over 200 modern coming-of-age classics. (World Premiere)

Big Significant Things
Director/Screenwriter: Bryan Reisberg
A week before they move across the country together, Craig lies to his girlfriend in order to go on his first road trip – to the south. Alone. Cast: Harry Lloyd, Krista Kosonen (World Premiere)

Buzzard
Director/Screenwriter: Joel Potrykus
Devil masks, metal, video games, Mountain Dew, and a Party Zone. Scheming slackers of the world unite and take over!
Cast: Joshua Burge, Joel Potrykus, Teri Ann Nelson, Alan Longstreet, Rico Bruce Wade (World Premiere)

Creep
Director/Screenwriter: Patrick Brice, Screenwriter: Mark Duplass
When a videographer answers a Craigslist ad for a one-day job in a remote mountain town, he finds his client is not at all what he initially seems. Cast: Mark Duplass, Patrick Brice (World Premiere)

Cumbres (Heights) (Mexico)
Director/Screenwriter: Gabriel Nuncio
Due a tragedy, two sisters abruptly escape from their hometown in Northern Mexico. Their journey creates a bittersweet relationship marked by pain, guilt and love.
Cast: Aglae Lingow, Ivanna Michel, Abdul Marcos, Sergio Quiñones, Ganzo Cepeda (U.S. Premiere)

The Dance of Reality (Chile / France)
Director/Screenwriter: Alejandro Jodorowsky
The Dance of Reality is a 2013 independent autobiographical film written, produced and directed by Alejandro Jodorowosky. Cast: Brontis Jodorowsky, Pamela Flores, Jeremias Herskovits, Cristobal Jodorowsky, Bastián Bodenhöfer, Alejandro Jodorowsky (U.S. Premiere)

Evaporating Borders (USA / Cyprus)
Director: Iva Radivojevic
Evaporating Borders is a poetically photographed and rendered film on tolerance and search for identity. Told through 5 vignettes portraying the lives of migrants on the island of Cyprus, it passionately weaves themes of displacement and belonging. (North American Premiere)

Evolution of a Criminal
Director: Darius Clark Monroe
How does a 16 year-old evolve into a bank robber? (World Premiere)

Housebound (New Zealand)
Director/Screenwriter: Gerard Johnstone
When Kylie Bucknell is sentenced to home detention, she’s forced to come to terms with her unsociable behaviour, her blabbering mother and a hostile spirit who seems less than happy about the new living arrangement.
Cast: Morgana O’Reilly, Rima Te Wiata, Glen-Paul Waru, Cameron Rhodes, Millen Baird (World Premiere)

The Infinite Man (Australia)
Director/Screenwriter: Hugh Sullivan
The Infinite Man is a time travel comedy-romance about a man whose attempts to construct the perfect romantic weekend backfire when he traps his lover in an infinite loop.
Cast: Josh McConville, Hannah Marshall, Alex Dimitriades (World Premiere)

Open Windows (Spain)
Director/Screenwriter: Nacho Vigalondo
Nick’s a lucky guy – he’s having dinner with Jill Goddard, the hottest actress on earth. Then a guy named Chord calls: dinner’s been canceled. And it’s Jill’s fault. But Chord’s got something better… A 21st Century Rear Window. Cast: Elijah Wood, Sasha Grey, Neil Maskell, Adam Quintero, Ivan Gonzalez (World Premiere)

Other Months
Director/Screenwriter: Nick Singer
Marking time as an itinerant plumber, and haunted by recurrent nightmares, Nash hungers for the fleeting ecstasies of nightclubs and bedrooms. Other Months is a stark, honest portrait of disconnection—a young man coming to face his paralysis. Cast: Christopher Bonewitz, Britannie Bond, Emma Morrison-Cohen, Liam Ahern, David Rudi Utter (World Premiere)

The Possibilities Are Endless (UK)
Directors: Edward Lovelace, James Hall
Scottish musician, Edwyn Collins’ world was shattered by a devastating stroke. After fighting back from the brink of death, he discovers that life, love and language mean even more to him that he could ever have imagined. (World Premiere)

Premature
Director/Screenwriter: Dan Beers, Screenwriter: Mathew Harawitz
On the most important day of his young life, a high school senior is forced to relive his failed attempt at losing his virginity over and over again, until he gets it right.
Cast: John Karna, Katie Findlay, Craig Roberts, Carlson Young, Adam Riegler (World Premiere)

Song from the Forest (Germany)
Director: Michael Obert
A modern epic set between rainforest and skyscrapers. (North American Premiere)

Space Station 76
Director/Screenwriter: Jack Plotnick, Screenwriters: Jennifer Cox, Sam Pancake, Kali Rocha, Michael Stoyanov
Welcome to the future of the past.
Cast: Patrick Wilson, Liv Tyler, Matt Bomer, Marisa Coughlan, Kylie Rogers (World Premiere)

Surviving Cliffside
Director: Jon Matthews
A West Virginia family faces illness, addiction, and gun violence—while their daughter makes a run for Little Miss West Virginia. (World Premiere)

The Wilderness of James
Director/Screenwriter: Michael Johnson
A restless teenager explores the wilderness of his city while struggling with the absence of his father. Cast: Kodi Smit-McPhee, Virginia Madsen, Isabelle Fuhrman, Evan Ross, Danny DeVito (World Premiere)

EPISODIC (*New screening section)

Featuring innovative new work aimed squarely at the small screen, Episodic tunes in to the explosion of exciting material on non-theatrical platforms, including serialized TV, webisodes and beyond.

Shows premiering in Episodic are:

COSMOS: A SpaceTime Odyssey
Directors: Brannon Braga, Bill Pope, Screenwriters: Ann Druyan, Steven Soter
COSMOS: A SpaceTime Odyssey is a thrilling, 13-part adventure across the universe of space and time revealed by science, exploring humanity’s heroic quest for a deeper understanding of nature.
Narrator: Neil deGrasse Tyson

Deadbeat
Director: Troy Miller, Written And Co-Created By: Cody Heller, Brett Konner
Kevin Pacalioglu may have no money and no clue, but he does have one thing–he can see dead people. Faced with New York’s most stubborn ghosts, our hapless medium goes to whatever lengths necessary to help finish their unfinished business. Cast: Tyler Labine, Cat Deeley, Brandon T. Jackson, Lucy DeVito (World Premiere)

From Dusk Till Dawn: The Series – Pilot
Director/Screenwriter: Robert Rodriguez
The Gecko Brothers are back. Based on the thrill-ride film, From Dusk Till Dawn: The Series is a supernatural crime saga from Creator, Director and EP Robert Rodriguez premiering March 11 on El Rey Network.
Cast: D.J. Cotrona, Zane Holtz, Eiza González, Jesse Garcia, Lane Garrison, and Wilmer Valderrama, and Don Johnson (World Premiere)

Halt and Catch Fire
Director: Juan Jose Campanella, Screenwriters: Christopher Cantwell, Christopher C. Rogers
Halt and Catch Fire captures the rise of the PC era in the early 1980s, during which an unlikely trio – a visionary, an engineer and a prodigy – take personal and professional risks in the race to build a computer that will change the world as they know it. Cast: Lee Pace, Scoot McNairy, Mackenzie Rio Davis, Kerry Bishe, Toby Huss, David Wilson Barnes (World Premiere)

Penny Dreadful (USA / UK)
Directors: John Logan, Juan Antonio Bayona, Screenwriter: John Logan
Penny Dreadful is a psychological horror series that re-imagines literature’s most terrifying characters (Dr. Frankenstein, Dorian Gray and iconic figures from the novel Dracula) in a whole new light.
Cast: Josh Hartnett, Timothy Dalton, Eva Green, Reeve Carney, Rory Kinnear, Billie Piper, Danny Sapani, Harry Treadaway (World Premiere)

Silicon Valley
Director: Mike Judge, Created By: Mike Judge & John Altschuler & Dave Krinsky,
Episode One Written By Mike Judge & John Altschuler & Dave Krinsky.
Episode Two Written By Carson Mell.
The new HBO series Silicon Valley takes a comic look at the modern-day epicenter of the high-tech gold rush, where the people most qualified to succeed are the least capable of handling success.
Cast: Thomas Middleditch, T.J. Miller, Zach Woods, Kumail Nanjiani, Martin Starr, Josh Brener, Christopher Evan Welch, Amanda Crew, Matt Ross (World Premiere)

24 BEATS PER SECOND

Showcasing the sounds, culture & influence of music & musicians, with an emphasis on documentary.

Films screening in 24 Beats Per Second are:

The 78 Project Movie
Director: Alex Steyermark
The 78 Project is a journey to connect today’s musicians with the recordings of the past. Using a 1930’s Presto recorder, artists get one take to cut a 78rpm record anywhere, finding in that adventure a new connection to our shared cultural legacy. (World Premiere)

AMERICAN INTERIOR (Wales)
Directors: Dylan Goch, Gruff Rhys
Two men. Two quests. Two centuries apart. Four ways to experience the search for a lost tribe. Film. Book. Album . App. (World Premiere)

The Case of the Three Sided Dream
Director: Adam Kahan
The documentary film on the life and legacy of Rahsaan Roland Kirk – a one of a kind musician, personality, activist and windmill slayer who despite being blind, becoming paralyzed, and facing America’s racial injustices – did not relent. (World Premiere)

Deep City
Directors: Dennis Scholl, Marlon Johnson
Deep City is an inspirational story that explores the early days of soul music in South Florida, the pioneers of that era and their lasting contributions to the broader American musical landscape. (World Premiere)

God Help the Girl (UK)
Director/Screenwriter: Stuart Murdoch
An indie musical from Stuart Murdoch of Belle and Sebastian about two girls and a boy and the music they made one Glasgow summer.
Cast: Emily Browning, Olly Alexander, Hannah Murray, Pierre Boulanger, Cora Bissett

JOHNNY WINTER: DOWN & DIRTY
Director: Greg Olliver
A down & dirty documentary on the life and career of blues legend Johnny Winter, featuring Edgar Winter, James Cotton, Billy Gibbons, Warren Haynes, Luther Nallie, Tommy Shannon, Susan Tedeschi, Derek Trucks and more. (World Premiere)

Leave The World Behind (UK)
Director: Christian Larson
A documentary following the break-up of Swedish House Mafia and their subsequent One Last Tour. A rare look at the electronic scene, amazing live footage and the psychological drama of 3 guys who walked away from everything to save their friendship. (World Premiere)

Our Vinyl Weighs A Ton (This Is Stones Throw Records)
Director: Jeff Broadway
Our Vinyl Weighs A Ton is a feature-length documentary about avant-garde Los Angeles-based record label Stones Throw Records.

Que Caramba es la Vida (Germany)
Director: Doris Dörrie
In the macho world of Mariachi music, very few women can hold their own. Just like the songs they play, this film is a snapshot of life, death and the things in between – seen from a bird’s-eye perspective. (World Premiere)

Road To Austin
Director: Gary Fortin
Road To Austin, chronicles how Austin, Texas became the Live Music Capital of the World, dating from 1835 to present day. The film builds to a climax and weaves its way towards an all-star live performance led by Stephen Bruton and his 14-piece band. (World Premiere)

Rubber Soul
Director/Screenwriter: Jon Lefkovitz
Rubber Soul reconstructs portions of two historical interviews with John Lennon and Yoko Ono based on available transcripts and audio, juxtaposing them in order to explore the dynamic nature of Lennon’s identity over time. Cast: Joseph Bearor, Denice Lee, Dillon Porter, Andrew Perez (World Premiere)

Sheffield: Sex City (UK)
Director: Florian Habicht
Dylan said ‘Don’t Look Back’ – but what happens if you do? (World Premiere)

Soul Boys of the Western World (UK)
Director: George Hencken
A voyage through the heart of the 80s with one of the decade’s most iconic bands, Spandau Ballet, this archive-only film tells the story of a group of working-class London lads who created a global music Empire, but at a price none of them imagined. (World Premiere)

SVDDXNLY
Director: David Laven
SVDDXNLY uncovers the young life and career of A$AP Rocky and the A$AP Mob, from humble Harlem beginnings to their rapid rise to fame. (World Premiere)

Take Me to the River
Director: Martin Shore
Take Me to the River is a film about the soul of American music. The film follows the recording of a new album featuring legends from Stax records and Memphis mentoring and passing on their musical magic to stars and artists of today. (World Premiere)

The Winding Stream
Director: Beth Harrington
The Winding Stream is the story of the American music dynasty, the Carters and Cashes, and their decades-long influence on popular music. (World Premiere)

SXGLOBAL

A diverse selection of International filmmaking talent, featuring innovative narratives, artful documentaries, premieres, festival favorites and more.

Films screening in SX Global are:

The Desert (Argentina)
Director: Christoph Behl
The failed story of a love triangle in a post-apocalyptic world.
Cast: Victoria Almeida, William Prociuk, Lautaro Delgado (North American Premiere)

For Those in Peril (UK)
Director/Screenwriter: Paul Wright
In a remote Scottish town, a young man is the lone survivor of a strange fishing accident that claimed the lives of 5 men. Spurred on by sea-going folklore, the village blames him for this tragedy, making him an outcast amongst his own people.
Cast: George Mackay, Michael Smiley, Nichola Burley, Kate Dickie (North American Premiere)

The Special Need (Germany / Italy / Austria)
Director: Carlo Zoratti
Searching for “the first time” Alex, Carlo and their autistic friend Enea find a lot more than they were looking for… (North American Premiere)

Ukraine Is Not A Brothel (Australia)
Director: Kitty Green
A feature documentary that reveals the truth behind Ukraine’s topless feminist sensation, ‘Femen’.

Wetlands (Germany)
Director: David F. Wnendt, Screenwriters: Claus Falkenberg, David F. Wnendt
18-year-old Helen has her very own view on life, hygiene and good sex. she loves to shock people with unexpected and un-girly behavior.
Cast: Carla Juri, Christoph Letkowski, Meret Becker, Marlen Kruse, Peri Baumeister

A Wolf at the Door (Brazil)
Director/Screenwriter: Fernando Coimbra
A nerve-rattling tale of a kidnapped child and the distraught parents left behind that captures the darkness that ensues when panic breeds suspicion and love turns to hate.
Cast: Milhelm Cortaz, Leandra Leal, Fabiula Nascimento (U.S. Premiere)

FESTIVAL FAVORITES

Acclaimed standouts & selected previous premieres from festivals around the world.

Films screening in Festival Favorites are:

Bad Words
Director: Jason Bateman, Screenwriter: Andrew Dodge
Jason Bateman’s feature directorial debut is the subversive comedy Bad Words. Bateman stars as Guy, who finds a loophole in the rules of a national spelling bee and causes trouble by hijacking the competition.
Cast: Jason Bateman, Kathryn Hahn, Rohan Chand, Philip Baker Hall, Allison Janney

Boyhood
Director/Screenwriter: Richard Linklater
One family’s journey shot over the course of 12 years.
Cast: Patricia Arquette, Ethan Hawke, Ellar Coltrane, Lorelei Linklater

The Case Against 8
Directors: Ben Cotner, Ryan White
A behind-the-scenes look inside the case to overturn California’s ban on same-sex marriage. Shot over five years, the film follows the unlikely team that took the first federal marriage equality lawsuit to the U.S. Supreme Court.

The Dog
Directors: Allison Berg, Frank Keraudren
An astonishing documentary portrait of the late John Wojtowicz, whose attempted robbery of a Brooklyn bank to finance his male lover’s sex-reassignment surgery was the real-life inspiration for the classic Al Pacino film Dog Day Afternoon.

For No Good Reason (England)
Director: Charlie Paul
Johnny Depp pays a call on his friend and hero Ralph Steadman and we take off on a high-spirited, raging and kaleidoscopic journey discovering the life and works of one of the most distinctive radical artists of the last 50 years.

Frank
Director: Lenny Abrahamson, Screenwriters: Jon Ronson, Peter Straughan
Frank is a comedy about a young wannabe musician, Jon, who discovers he’s bitten off more than he can chew when he joins a band of eccentric musicians led by the mysterious and enigmatic Frank and his terrifying sidekick, Clara. Cast: Domhnall Gleeson, Maggie Gyllenhaal, Michael Fassbender, Scoot McNairy, Carla Azar

Hellion
Director/Screenwriter: Kat Candler
When 13-year-old Jacob’s delinquent behavior results in the authorities placing his little brother Wes with their aunt, he and his emotionally absent father must finally take responsibility for their actions and each other in order to bring Wes home. Cast: Aaron Paul, Juliette Lewis, Josh Wiggins, Deke Garner, Jonny Mars

The Internet’s Own Boy:  The Story of Aaron Swartz
Director: Brian Knappenberger
The story of programming prodigy and information activist Aaron Swartz, from the development of RSS and Reddit to his groundbreaking work in political organizing and the tragic taking of his own life at the age of 26.

JIMI: All Is By My Side
Director/Screenwriter: John Ridley
Covering a year in Hendrix’s life from 1966-67, the film presents an intimate portrait of the sensitive young musician on the verge of becoming a rock legend.
Cast: Andre Benjamin, Hayley Atwell, Imogen Poots, Ruth Negga, Adrian Lester (U.S. Premiere)

Kumiko, The Treasure Hunter
Director/Screenwriter: David Zellner, Screenwriter: Nathan Zellner
A lonely Japanese woman abandons her structured life in Tokyo to seek a satchel of money rumored to be hidden in the Minnesota wilderness.
Cast: Rinko Kikuchi, Nobuyuki Katsube, David Zellner, Nathan Zellner, Shirley Venard

No No: A Dockumentary
Director: Jeffrey Radice
In the 1970s Dock Ellis pitched a no-hitter on LSD and courted conflict and controversy, but his latter years were spent helping others recover from addiction. No No: A Dockumentary weaves a surprising story of a life in and out of the spotlight.
*SXsports screening

Obvious Child
Director/Screenwriter: Gillian Robespierre
Obvious Child is an unapologetically honest comedy about what happens when 27 year‑old Brooklyn stand-up comedian Donna Stern (Jenny Slate) gets dumped, fired and pregnant just in time for Valentine’s Day.
Cast: Jenny Slate, Jake Lacy, Gaby Hoffmann, Gabe Liedman, David Cross

Only Lovers Left Alive
Director/Screenwriter: Jim Jarmusch
A story centered on two vampires who have been in love for centuries.
Cast: Tom Hiddleston, Tilda Swinton, Mia Wasikowska, John Hurt, Anton Yelchin

Ping Pong Summer
Director/Screenwriter: Michael Tully
Coming soon…Summer 1985.
Cast: Susan Sarandon, John Hannah, Lea Thompson, Amy Sedaris, Robert Longstreet

The Raid 2
Director/Screenwriter: Gareth Evans
Picking up from right where the first film ends, The Raid 2 follows Rama as he goes undercover and infiltrates the ranks of a ruthless Jakarta crime syndicate in order to protect his family and uncover the corruption in the police force.
Cast: Iko Uwais, Yayan Ruhian, Arifin Putra, Oka Antara, Tio Pakusadwo

SPECIAL EVENTS

Live Soundtracks, cult re-issues & much more. Our Special Events section offers unusual, unexpected & unique film event one-offs.

All American High: Revisited
Director: Keva Rosenfeld
All American High: Revisited is a time capsule of teen life in the 1980s, a long-lost documentary that captures an unforgettable era through the eyes of those who lived it.

Double Play: James Benning and Richard Linklater (France / Portugal / US)
Director: Gabe Klinger
A documentary portrait of the friendship between the renowned filmmakers James Benning and Richard Linklater. (U.S. Premiere)

GODZILLA: THE JAPANESE ORIGINAL (Japan)
Director: Ishiro Honda, Screenwriters: Takeo Murata, Ishiro Honda
The 1954 classic that inspired the modern monster movie (national re-release from Rialto Pictures in April). Q&A with Gareth Edwards, director of the summer 2014 film Godzilla, from Warner Bros Pictures and Legendary Pictures. Cast: Takashi Shimura, Akira Takarada, Momoko Kochi

The Grand Budapest Hotel – Extended Q&A with Wes Anderson
Director/Screenwriter: Wes Anderson
The Grand Budapest Hotel recounts the adventures of Gustave H, a legendary concierge at a famous European hotel between the wars; and Zero Moustafa, the lobby boy who becomes his most trusted friend.  The story involves the theft and recovery of a priceless Renaissance painting; a raging battle for an enormous family fortune; a desperate chase on motorcycles, trains, sleds, and skis; and the sweetest confection of a love affair – all against the back-drop of a suddenly and dramatically changing Continent.
Cast: Ralph Fiennes, Tony Revolori, F. Murray Abraham, Mathieu Amalric, Adrien Brody, Willem Dafoe, Jeff Goldblum, Jude Law, Bill Murray, Edward Norton, Saoirse Ronan, Jason Schwartzman, Tilda Swinton, Tom Wilkinson, Owen Wilson

The Texas Chain Saw Massacre – 40th Anniversary Screening
Director/Screenwriter: Tobe Hooper, Screenwriter: Kim Henkel
An idyllic summer afternoon becomes a terrifying nightmare for five young friends after they stumble upon the home of a depraved Texas clan. Cast: Marilyn Burns, Paul A. Partain, Edwin Neal, Jim