Oh hey, one of our favorite film festivals every year has returned with a vengeance! Check out our full coverage of 2025’s SXSW Film & TV Festival just after the jump.
Films
$POSITIONS
(Written by Intern, Miranda Zampogna) Reflecting the ongoing crypto-scam TikTok-star lawsuits, writer/director Brandon Daley rips from the headlines, bringing a germanely frenetic tragicomedy. $Positions charts the chaotic downward spiral of Mike Alvarado (Michael Kunicki), a young man consumed by the volatile world of cryptocurrency trading. Rapid cuts, tight zooms, drastic aperture changes, and overlapping meta dialogue, mirror the oscillating tension and euphoria of gambling. A fleeting initial success fuels his impulsive decision to quit his job, one that quickly unravels as his investments plummet. The first act culminates in a surreal, musical number celebrating his perceived triumph. Almost like a self-contained short, this preamble highlights the small-in-scale concept. Struggling to find its footing, there is a drawn-out debate, but the subversion of generic pratfalls propels the subsequent maelstrom. Mike’s pursuit of financial redemption results in neglecting his disabled brother, Vinny (Vinny Kress), alienating his girlfriend (Kaylyn Carter), and recklessly involving his drug-abusing cousin (Trevor Dawkins). Themes of addiction, not just with substances but also the thrill of betting, reexamine token obsession as a destructive vice. Despite becoming increasingly predictable in the latter half, tones lurching from absurdist humor to bleak pathos will keep one’s eyes glued to the screen. Kunicki’s performance captures the manic energy of Mike’s character through the highly stylized visceral lens, immersing us in his perspective. Even though his actions become progressively reprehensible, we always remain with him. Portraying him as a gullible, failure-to-launch loser, and insistently claiming he is unlike his alcoholic father, schemes a clever, unique flaw. His lack of self-awareness garners ample laughs, yet generates a sobering look at society’s refusal to acknowledge this rising online compulsion. A timid resolution never capitalizes on a surprising moral turn for Mike at the beginning of act three—instead, Daley opts to land a wry punchline. Nevertheless, $Positions guarantees an entertaining cautionary tale about the allure of quick riches so be sure to invest in this raucous good time.
ASH
Full review at the link.
CAPER
(Written by Intern, Alecia Wilk) Caper is a foolish trip through the limitlessness of male friendship. Gorgeous casting decisions deliver the most limp-looking band of thieves on a dire mission to erase one horrifically racy text their friend, Phil (Ron Palais), dispatched onto an unintended recipient. Hatching a crude plan to break into his boss’ apartment and phone while she sleeps, Caper sets off an all night affair with a high pressure countdown. The stakes are absurd, and speak to the childishness the gang shares. Their inability to take accountability drives the ensemble back across burned bridges and to the doors of ex-girlfriends and useless accomplices, as they try to cash-in on favors they do not have credit towards. Their immaturity is made wildly amusing without the feeling of trying too hard. Using the headcount to its advantage, perspective bobs back and forth from where team members are stationed. As one step forward by the guys on the ground ends in a pathetic bust, a phone call to stoner Billy (Sam Gilroy) will relay to a badly spiraling Phil that everything is going peachy. Knowns and unknowns stay playfully afloat like a game of keep it up. With concern to Phil’s missent message, morbid curiosity gnaws on the filthy possibilities of visual and written content. It is as bad as one’s imagination allows. Character backgrounds are open to question as well, which re-injects some realism to the ridiculousness. Seeing such a wide array of types of guys is a joy. Refreshingly liberated from typecasting, old chaps like Phil and Larry (Richard Cooper) wind up best buds with young bucks like Billy and Chris (Christopher Tramantana), reinforcing the truth that their bond is glued by enabling one another. The crew shares an incredibly crotchety chemistry, where cooperation and conflict become one. With a buddy’s life on the line, Caper journeys into the lives of men who are willing to do absolutely anything for one another—except heal. In approaching his heist as “a stupid f*cking plan with a purpose,” Dean Imperial turns a misguided attempt to make things right into a thoroughly entertaining ride-along.
CORINA
(Written by Intern, Miranda Zampogna) Corina observes that lies, no matter how white, will invariably amplify the truth. Set against the vibrant backdrop of Guadalajara, pastel colors, an omniscient narrator, and touches of physical comedy in orchestrated long takes complement a whimsical aesthetic. In the titular role, Naian González Norvind artfully conveys a quirky relatability, and satisfies the journey of a timid young woman breaking the confines of her agoraphobia. Initiating this dramedy’s premise is a mysterious star writer who disrupts Corina’s meticulously choreographed routine after submitting a problematic manuscript to their publishing company. Her lowly role in pulp erotica style correction—marked by working in the office supply closet, coworker ridicule, an undermining boss, and her mother’s dependency—leads her to salvage the book’s ending and, by extension, her department. However, this heroic deed, fueled by a desire to champion herself, breeds a fib that snowballs into a diverting turn of events. The arrival of her deli shop owner’s noisy cousin, Carlos (Cristo Fernández), injects a dose of chaotic energy into her carefully constructed world, as well as moments of genuine connection. Their cheerful sequences offer a glimpse into Corina’s burgeoning confidence, and a humorous running nosebleed gag between them rouses a good laugh. Writer/director Urzula Barba Hopfner sensibly portrays themes of everyday bravery and quiet anxieties, punctuated by jarring city sounds and a brisk score that reflects a heightened sensitivity. A drawn-out setup and overexplained conflict slightly stall the momentum. Moreover, there are several contrived plot points, including a coincidental nail polish spill and an overly convenient off-screen resolution to a potential lawsuit, leading to a climax that, while resonant, feels somewhat unearned. Ultimately, a tense but static confrontation with the reclusive author lacks depth because her motivations for such uncharacteristic artistic choices remain vague, leaving the audience unsatisfied. Despite some unintentional quirks, Corina inspires with its enchanting message about embracing the unknown, nostalgic visuals, and Norvind’s delightful performance.
DEAR TOMORROW
(Witten by Intern, Alecia Wilk) Dear Tomorrow attempts to translate the problem of Japan’s loneliness pandemic while promoting the service developed to treat it, A Place For You. Masato Siwa and Shoko Watanabe take center stage as conduits for the national crisis. Both in their middle-age, living solo, and without contact with friends or family, they provide a look at the deeply problematic norm which the messenger is meant to remedy. Though the hotline is purported to be the central focus, it slides into and out of the program with a frequency and fluidity that comes to resemble advertising. With regards to the chat function, the integration is beautiful. The interface is sleek, and offers a sort of serenity to better take in the strife that Masato and Shoko type up. Watching their ills fill the screen to the rhythm of keyboard clicks has a strangely comforting effect. Combining the pleasing sound with odd-hour requests to be talked off a ledge is a dissonant experience all too familiar for many in the digital age. Hunched over in a room’s stillness and silence, Masato and Shoko’s state speaks to the disconnectedness of this practice in the first place, and when each gets a ping back that all of the counselors in the system are busy, isolation rings loud. A sentiment of defeat clings to the activities that follow. Braving the world after they have spilled their struggles to no avail, the outside is distant and untouchable. Others may be constantly present, but they became like fixtures of space, removed of potential connection. In an environment where the forlorn are a population proliferated by deeply systemic issues, it is an oversight not to press deeper into those structural causes. Apart from voiceovers of news headlines, the greater context of Japanese life is missing from the foundation. A strong bedrock of the social rituals of atomization are necessary to illuminate the personal experiences of Masato, Shoko, and millions of other A Place For You users. Making rocky moves towards hopefulness, Masato and Shoko find small refuge from their desolation in the warmth of others. Dear Tomorrow voices that the most powerful medicine in a loneliness epidemic is found in one another. True that may be, Swedish Director Kaspar Astrup Schröder’s perspective on the crisis seems limited by a task to reflect the stance of the Japanese Ministry of Loneliness.
DEEPFAKING SAM ALTMAN
(Written by Intern, Alecia Wilk) Deepfaking Sam Altman lazily elbows at the hypocrisy of what it sees as the American public’s relationship with artificial intelligence. Co-executive produced by Kevin Hart and based on reporting from New York magazine, unending layers of irony protect the documentarian from any obligation to offer insight about the subject. In the wake of his Emmy nomination for previous documentary series, Telemarketers, Adam Bhala Lough throws together a self-aggrandizing operation to interview the creator of OpenAI. His tongue-in-cheek journey is something like following a careless, too-cool-for-school tour guide. As Adam dryly performs a character arc from employment-insecure creative professional, to faux rebellious investigative journalist, to torn by an Ex Machina-esque conflict of his own creation, his staged idiocy grows to irk. Unwilling to present a facet of earnestness, even in the form of docu-comedy, the feeling of being kept at bay by an inside joke grows bothersome. It suffers from assuming a cultural tone of meta-irony which is too often attempted and seldom proves sufficiently provocative. Smug nonchalance starts to lose entertainment value once it becomes clear that it is an attitude which permeates the whole production. Revolving completely around the misguided, overfunded, incompetence of this special sort of Angeleno creative confirms and simultaneously declaws the wasteful self-indulgence of their lifestyle and industry. The result is a toothless parody. That sphere is presented as much simpler than popular paranoia imagines—plain dumb—suggesting that anxiety over a future more populated with artless directors dependent on artificial intelligence is dumb as well. To the extent that it could not reproduce Sam Altman’s likeness well enough to avenge his incompliance, AI, and Sam Altman himself, are presented as harmless. Both are generators of things mostly good for entertainment and saving time, and only harmful insofar as their stature of worry in the minds of the Writer’s Guild. Impenetrable in its unseriousness, Deepfaking Sam Altman is a great success insofar as it cannot fail at what it does not attempt.
FUCKTOYS
Full review at the link.
GOOD BOY
For any dog owner, the thought probably occurs multiple times a day: what is going on inside that head? This unique indie feature aims to answer that question through the lens of a tense horror picture. Good Boy plunges viewers into the perspective of its absolutely adorable lead canine, Indy, from the very first frame. With his owner, Todd (Shane Jensen), Indy ends up at the supposedly haunted family home so Todd can get their affairs in order. Indy explores the sprawling home as dark things appear and disappear in corners, accompanied by creepy sounds and glowing eyes. As Indy’s owner deteriorates, Indy revisits the storied history of the house with danger always looming. Seeing Indy’s nightmares fully visualized brings a striking rush of originality to the proceedings. A cold distance from Todd grows deeper as whatever monster at hand continues to plague the duo. Director Ben Leonberg keeps the action centrally focused on Indy, rarely dwelling on the face or expressions of his owner. The concept itself is an incredibly novel one, and following Indy around certainly comes with baked in charms. Indy makes for a snuggle-worthy protagonist. However, Good Boy does not quite work as a full-length movie. Perhaps it would be a phenomenal short film, but it feels stretched to the very edge of existence in this current format. Woof woof.
GLORIOUS SUMMER
(Written by Intern, Alecia Wilk) Glorious Summer takes the form of a Free People campaign on quaaludes, using a sleight of hand to unsheathe an inquiry positing the opposition between security and true freedom. Abandoned in a renaissance castle, three nameless women (Magdalena Fejdasz-Hanczewska, Helena Ganjalyan, and Daniela Komędera) soak in an existence without responsibility; their only purpose is being present for the simple joys inexplicably provided to them. Meandering frustratingly at first, Glorious Summer focuses solely on the girls as they waft around in soft sunlight and perform quiet rituals that go without much-needed explanation. Understanding their strange governance means enduring the same ignorance imposed upon the girls, and so it is with tedium and precision that Directors Helena Ganjalyan and Barlosz Szpak construct an entrapment out of what at first appears to be Eden. What results is a very original meditation on the innocuous draws of oppressive systems. Caught in a cycle of endless summers, and receiving cult-like orders over a radio throughout the day, they are indoctrinated constantly towards gentle enjoyment. Injecting natural beauty with the uncanny where it counts, the directors manage a complete otherworldliness out of a setting looking so tame and familiar. Though adorned in delicate textures and modest luxury, their peaceful dominion constricts to the point of agony. As summer drags on, days are tinged with the incessant yearning for something unnameable, something more. Scenes and themes which often evoke the worriless bliss of youth are turned on their head, and political cuts are taken at the fantasy of leisurely existence. In a place where one is denied the autonomy merely to rage, the need to escape from paradise grows evident. Utopia converges with dystopia in Glorious Summer’s one of a kind, all-inclusive authoritarian, mindfulness retreat. Completely forfeiting the urge to hook or lead the audience is a risk which pays off for Helena Ganjalyan and Barlosz Szpak as they produce a thesis which grows like a tumor, still instigating the trade-offs of modern comforts after the credits roll.
THE HOME
(Written by Intern, Alecia Wilk) In The Home, a troublingly close portrait of elder caretaking collapses into a supernatural nightmare. Joel Edlund (Phillip Oros) answers the call to move his mother, Monika (Anki Lidén), to an old folks’ home catering to dementia patients. Journeying to his hometown puts Joel in confrontation with his past, which director Mattias J Skoglund brings to life with a power that turns threatening. A sensorial scarehouse, The Home’s noise precedes any visuals. Household clinks and ill-sounding sighs set off a mood of agitated, lonely domesticity which stretches the runtime like a hammock to carry incoming spooks. A thud and a clatter serve as the inciting incident. The opening pictures nothing but a quaint, yellow-tinted kitchen, cozy except for Monika’s moans of pain as she lay fallen beneath the frame. The crescendo of the running faucet amplifies her helplessness and tortures anxious ears. Similarly disquieting ambient sounds continue to send off-putting signals in otherwise nonthreatening spaces. As Joel excavates his childhood home from the filth of his mother’s decline, remnants of his father, Bengt (Peter Jankert), resurface and introduce the Edlunds’ abusive dynamic. Without spelling out the specifics of their trauma, Bengt’s legacy slowly unravels in scenes of his victims reenacting their abuse. Silence and sound design are wielded as weapons to aggrandize standard jump scares, joined by some absolutely nightmarish sequences that lie between horror and reality. Despite a decisive passage into the supernatural realm, The Home is at its most unnerving when set squarely in the uncanny. In close looks at the inpatients of Ekskuggan, textures are captured with a traction that gives wrinkles and mysterious stains a topographic drama. As Bengt’s malevolent spirit continues to possess Monika to greater effect, every facial expression from the atrophying residents becomes charged with the ultimate terror—the uncertainty of what they are thinking and what they might do. This unpredictability lingers so every interaction between the old and the young grows increasingly uneasy. Thus, the tension feels defeated when the story makes a full swing into the paranormal. Escalating into an occult attack, the effort at creating a climax gives the resolution no room to fizzle out and does away with the themes of family and the enduring nature of abuse. The Home is a great success as far as it renders a sensational dread, but its focus on making a frightfest of the final act distracts from the psychological horrors it had seeded all along.
INFINITE HUSK
(Written by Intern, Miranda Zampogna) With a hypnotic, synth-driven infinite zoom through celestial bodies, Aaron Silverstein plunges viewers into the visually arresting aesthetic of The Infinite Husk. However, this promising neon stargaze quickly devolves into a limited sci-fi experience, full of empty observations that never winnow out meaning. A small scope focuses on an alien consciousness, Vel (Peace Ikediuba), who inhabits a deceased woman’s shell, navigating a bleak Los Angeles landscape. Burdened by a spy mission, her target and fellow extraterrestrial, Mauro (Circus-Szalewski), teeters on the brink of a breakthrough that could alter their fates. Amidst clunky exposition and characterization, a lack of subtlety permeates. Rife with on-the-nose commentary, Vel’s internal, philosophical voiceovers, pronouncing humanity’s fragile society and worthlessness, never delve deeper. Undermining complex themes, such as consciousness, reality, and the nature of existence, are simplistic executions often accompanied by absurdist crescendos. Sci-fi jargon never comes into its own, and the central conundrum seems less science-based than spiritual, waning expectations. Due to an unconvincing catalyst and repetitive objectives, emotional stakes never ascend. Performances are stilted due to theatrically directed monologues and unevenly paced scenes. One genuine red herring utilizes the concept of husks surprisingly, leaving an audience wanting more than the predictable ending that transpires. Nevertheless, neon-soaked rooms, halogen glows, and unsettling fluorescents complement the cynical tone, and special effects mesmerize. Ultimately, The Infinite Husk’s finite premise is a vacuous vessel only to gleam.
MAKE IT LOOK REAL
Ever curious about the importance of intimacy coordinators, I figured that Make It Look Real would be an excellent stepping stone into gaining some insight. This slight documentary aims to pull back the curtain on one of Hollywood’s more controversial filmmaking aspects: the choreography and coordination of on-screen intimacy. Following intimacy coordinator Claire Warden and her work on the film Tightrope, the documentary explores the evolving role of intimacy professionals in the wake of the #MeToo movement. At its best, we break down an almost step-by-step into the process, including script analysis and comfortability between the actors to establish their boundaries. Make It Look Real ultimately underwhelms as a documentary despite having an interesting subject matter. While it offers a solid behind-the-scenes look at how intimacy coordination works, writer/director Kate Blackmore rarely digs deep into the larger conversations around the topic. Was the film Tightrope even a real movie, or just a faux film? Barely scratching the surface, this still absolutely presents a good launching point to learn more about the topic.
NOW! MORE! YES!
Full review at the link.
O’DESSA
Full review at the link.
ODYSSEY
(Written by Intern, Miranda Zampogna) Gerard Johnson’s new thriller, Odyssey, wanders on a winding trek, reaching neither an epic nor blood-pumping conclusion. Polly Maberly stars as Natasha “Tash” Flynn, a spiraling real estate agent, in debt and desperate. Drawn out, Tash’s squeamish introduction frames her as an impatient, ambitious woman showcasing her questionable sales and managerial skills that betray genuine insight. The trail of an untraceable central conflict runs cold when the catalytic disappearance of a fellow agent is promptly forgotten for a significant period. Moreover, Flynn’s or the victim’s life never genuinely feels at risk. Understating the value of her company she fights for buried emotional stakes as well. As an underhanded, whirring score plays, workday intertitles tick by with no clear deadline, adding an artificial sense of urgency. Disjointed scenes meander, including bizarre cocaine-fueled parties and a farcical merger with a cartoonishly smarmy realtor. Weaving erratically through foggy satire, anxiety, and even surrealism, the tone never finds a consistent footing. The plot thickens with Tash’s involvement in a contrived and poorly executed kidnapping scheme, lacking the necessary build-up and clarity. Antagonists are blank slates, and the looming threat that motivates her cooperation with their plan is obsolete. Seemingly pointless sequences of Tash searching for a mysterious “Viking” lead to a violent, trippy climax that feels like an unconvincing deus ex machina. Forking over a superficially fierce image of Tash at the end comes with a sudden, unearned transformation. Efforts to tardily shoe-horn in a tragic backstory, explaining this turn, never explore deeper themes of corruption. Conversely, the cinematography and mise-en-scène gleam neo-noir aesthetics. Cold desaturated colors, moody lighting, and neon highlight the morally bankrupt industrial environment. A motif of a wisdom toothache, albeit missing a meaningful filling, is clever. In a supporting role, the endearing Jasmine Blackborow, who plays Tash’s intern, Dylan, executes a subtle arc that better illuminates the themes while working as a relatable audience surrogate. Unsatisfying as a cinematic experience, Odyssey diverges, holding itself ransom, and struggles to find an audience willing to pay.
ONE MORE SHOT
Full review at the link.
REDUX REDUX
Despite the rather striking still and a promising concept, Redux Redux quite frankly feels like a redux of better movies. Did we really need another multiversal story? At least this one comes with an indie bent to the proceedings… Irene (Michaela McManus) keeps killing her daughter’s murderer over and over and over again, becoming addicted to the repetition of the act. The introduction of a runaway little girl—an obvious stand-in for Irene’s deceased daughter—finally adds a dash of intrigue, but even her presence fails to make for a compelling watch. The style and tension could be far tighter in better directorial hands. Even the climax fails to satisfy, falling prey to a lifeless execution that left me cold and uninterested. Redux Redux fails to capitalize on its one interesting aspect: the young girl and the mystery behind the loop. Though they give it their best shot, this revenge thriller could have used some fine tuning from the creatives.
SATISFACTION
Stop me if this one sounds at all familiar: girl meets guy. Girl is entrapped in a hopeless relationship punctuated by coercive control. Girl finds a way to put her situation in perspective in the hopes that she can flee a pattern of emotional abuse. Satisfaction checks all of these boxes. Centered on budding musician, Lola (Emma Laird, The Brutalist, A Haunting in Venice), and her complex relationship with fellow composer, Philip (Fionn Whitehead, Dunkirk, Black Mirror: Bandersnatch), this meandering drama goes back and forth between the London music school meeting of the past and a present day vacation in the Greek Isles. Written and directed by Alex Burunova in her feature film debut, there are some interesting flourishes, particularly in the manner she decides to choreograph intimate sequences. Burunova utilizes many closeups between the couple, such as an invasive shower scene that emphasizes their constant togetherness. The introduction of a third character, Elena (Zar Amir Ebrahimi, Holy Spider, Nargess), from a nudist beach should shatter the glass casing of complacency established by the longtime couple. Instead, there does not seem to be much added to the greater whole. This is Lola’s story from beginning to end, lingering with her as she makes trips to the beach. With Philip, she remains particularly closed off, letting him basically do what he wants with her body. Whitehead and Laird are both good in their respective roles, but Satisfaction feels a bit on the hollow side. One powerful sequence that should probably carry a content warning aside, the lack of explosive confrontations is decidedly slim pickings. The message it tries to send has been stated before in stronger ways.
Spreadsheet Champions
(Written by Allison Brown) South by Southwest excels in showcasing quirky, offbeat documentaries—a category I eagerly anticipate annually, despite my general ambivalence toward the genre. Catering to my deeply entrenched scholarly nerdiness and near-obsessive fervor for education, Spreadsheet Champions emerges as a wonderfully delightful addition to the festival’s eccentric predecessors. Director Kristina Kraskov follows six international entrants from all walks of life as they travel to Orlando to compete in the Excel group of Certiport’s Microsoft Office Specialist World Championship. Essentially human calculators, 16-year-old Braydon of Australia, 19-year-old De La Paix of Cameroon, 20-year-old Alkmini of Greece, 16-year-old Carmina of Guatemala, 15-year-old Mason of the U.S.A., and 22-year-old Nam of Vietnam, proclaim how their deep love and investment in mathematics naturally led them to embrace the data-driven software. Comprised of three highly demanding parts over a span of 100 minutes, participants’ critical skills are rigorously tested in knowledge, application, and creativity. Substantial risks and rewards are in play, as contestants—eligible only once between the ages of thirteen and twenty-two—have secured prestigious job offers merely by placing. Kraskov dedicates significant time expanding the backstories of her subjects, incorporating commentary from mentors and family members to cultivate empathy and engage the audience in their journeys. However, none of those featured ultimately place in the top three. Given the distinctiveness of each student’s background, it remains unclear whether the subjects volunteered, were chosen at random, or were curated through a post-results selection process. Content focus is justified through archival footage tracing VisiCalc’s evolution into modern spreadsheet software, alongside talking-head interviews with industry specialists in space microbiology, genetics, and artificial intelligence who document Excel’s importance, required precision, and pervasive influence in the corporate world. Unpredictable twists and turns introduce an unexpected level of suspense to potentially dry material. To elevate otherwise monotonous footage of young adults frantically typing at their computers, a pulsating, electronically charged score is combined with rich, overlaid motion graphics. These elements, including a dynamic leaderboard, a calculator-style countdown clock, and on-screen chart visualizations, infuse palpable tension and heightened stakes. Spreadsheet Champions blends school nostalgia with a nonjudgmental lens to create a remarkable human-interest piece.
THE SURRENDER
Full review at the link.
SWEETNESS
Full review at the link.
Television
THE STUDIO
Full review at the link.
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