• Background Image

    News & Updates

    careering

October 10, 2017

Film Submission Tips: Work-In-Progress Screening

Two deadlines down and one more to go! Only a few more days until the 2018 SXSW Film Festival Late Deadline on Friday, October 20.

SXSW Film is more than happy to watch work-in-progress cuts, but there are some items to note:

  • During the SXSW Film Festival submission process, the film department views work-in-progress cuts that are picture locked and include an opening slate listing what still needs to be completed.
  • It is not out of the ordinary for us to watch films without their final sound mixes, color correction, or completed visual effects. However, keep in mind SXSW Programmers will only watch ONE CUT.
  • If your film is selected to play at SXSW 2018, you will be required to deliver a DCP (in addition, you can deliver us a 35mm print!) of the FINAL CUT for exhibition. Please note, we will not exhibit a work-in-progress during the festival except under very rare and special circumstances.

Submit Your Film Here

To learn more about submitting to SXSW, watch our How To Submit Your Film video and check out our Film Submission FAQ.

Join Us For SXSW 2018

Grab your Film Badge today for primary access to all SXSW Film events including world premieres, roundtables, workshops, and parties. Register to attend by Friday, October 20 and save before prices go up in November. Make your hotel reservations through SXSW Housing & Travel for the best available rates. We hope to see you in March!

Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage, announcements, application tips, and updates.

World Premiere of Nobodies – Photo by : Ann Alva Wieding

The post Film Submission Tips: Work-In-Progress Screening appeared first on SXSW.

Source: SxSW Film

October 10, 2017

Can’t Find Your Ideal Hotel? Join Our SXSW Hotel Waitlist

Austin Skyline - Day

If the hotel you want is unavailable, not to worry, the SXSW Hotel Waitlist could be a great option for you. Confirming a reservation at one of our available hotels is recommended if you’re not comfortable waiting. But if you’re willing to hold out for your ideal property, read on to learn more about our hotel waitlist option.

While we do not see much movement in our hotel waitlists until mid to late February, we are able to accommodate a large percentage of waitlist requests. If we do not feel we will be able to accommodate your request, we will work with you to find other accommodations. We won’t leave you stranded!

Here are some tips to help you decide if joining the waitlist is right for you.

Getting on the Hotel Waitlist

Once you’re registered, follow the steps to book a hotel through our online reservation system. Select your check in and out dates and scroll to the bottom of the list. Properties available to waitlist for are listed below currently available hotels. Then follow the steps to book a hotel through our online reservation system.

Helpful Hint: When making your request, be sure to include any additional information about your hotel preferences in the special requests field. This helps us best accommodate your request should a room become available.

Hotel Waitlist Availability

Our hotel waitlist is limited. We close the waitlist for popular hotels once they’re beyond the number of people we will be able to accommodate. The waitlist is currently closed for some downtown hotels during the first half of SXSWeek®. Availability changes regularly as guests adjust or cancel their reservations. Check back often for an updated list. As long as you do not have a reservation with us, return to your shopping cart at any time to check for new hotel and waitlist availability.

Hotel Waitlist Policy

Registrants and other official attendees can either confirm a reservation at an available hotel OR join the waitlist. You cannot both confirm a reservation and get on the waitlist for another property.

If you have already confirmed a reservation with SXSW Housing & Travel and are considering canceling it to join our waitlist, please contact housing@sxsw.com for guidance before taking action. Do not cancel your existing reservation unless you no longer need hotel accommodations.

Canceling Your Hotel Waitlist Request

We work up until your arrival date to accommodate your waitlist request. Therefore, it is very important to cancel your waitlist request if you no longer need it, for any reason. While we never charge a penalty for canceling a waitlist request, you could face a cancellation penalty from the hotel if we book a room you no longer need within the hotel’s cancellation penalty period. Depending on the hotel, the cancellation penalty period is between 7 and 14 days of arrival.

To cancel your waitlist request, follow the link located in your waitlist confirmation email, SXSW shopping cart, or SXSW Social Account.

Helpful Hint: Check your waitlist confirmation for the hotel’s cancellation penalty policy and mark the last day to cancel on your calendar.

Questions?

Email housing@sxsw.com or call us at (512) 467-7979.

Austin, Texas skyline – Photo by Judy Won

The post Can’t Find Your Ideal Hotel? Join Our SXSW Hotel Waitlist appeared first on SXSW.

Source: SxSW Film

October 8, 2017

‘Blade Runner’ Box Office Deja Vu as ‘2049’ Starring Ryan Gosling Falls Short

Thirty-five years after the Ridley Scott sci-fi original (which was not an initial box office success but grew into a cult favorite), the long-aborning sequel “Blade Runner: 2049” had much to recommend it: rave reviews, Denis Villeneuve directing his follow-up to sci-fi Oscar-winner “Arrival”; Ryan Gosling’s first wide release since “La La Land”;  a committed multi-generational smart sci-fi fan base.

So why did the movie fall short of expectations? It was expected to score at least $40 million domestically against a $155-185-million budget: $31 million marks a serious under-performer and suggests that to the extent that Villeneuve channeled the original, he may have delivered an artistic achievement that is not mainstream.

With most of the world outside Asia already playing the film, the initial foreign $81 million take will not yield $300-million worldwide — which is close to what the movie cost to make and market (shared by Alcon Entertainment and financier Sony Pictures Entertainment; Warner Bros. is the U.S. distributor-for-hire). With only about half of box office receipts returning to those who financed this visually stunning movie (which is at its best seen on the big screen), “Blade Runner: 2049” is unlikely to ever turn a profit.

This underwhelming box office doesn’t come out of nowhere. Smart sci-fi genre movies with complicated plots and big themes, iconic franchises with a strong but not necessarily wide base, and complex intellectual concepts combined with adventure/action elements do not always sustain high-end budgets.

Already this year “Alien: Covenant,” which saw Ridley Scott deep in the weeds of the franchise he started nearly four decades ago, managed only a domestic take of $74 million (barely double its opening of $36 million), while “The War for the Planet of the Apes” despite great reviews topped out at $146 million domestic. That would normally be considered good, but the production costs were higher, and the sequel dropped more than a third from the previous series effort.

“Apes” with strong foreign returns likely ekes out a small profit, while “Covenant” looks less hopeful. Both were considered by 20th Century Fox as prime franchises with further sequels considered likely (Scott has ben talking about furthering the “Covenant” story).

At least these sequels were building on a recent history of success. “Blade Runner 2049” was jumping from a visionary film which went head to head with “E.T.” in the summer of 1982, with Ridley Scott returning to sci-fi after “Alien” (he passed on the initial sequel) and featured Harrison Ford at the height of his draw after two “Star Wars” films.

The lack of first-hand awareness or interest beyond a small but intense cadre of smart sci-fi fans likely contributed to the result. That audience wasn’t huge–the $4 million Thursday preview represented about 400,000 tickets sold–but was likely the core. As strong as the reviews were, even that audience only responded with an A- Cinemascore (two grade steps below best). And the 11 per cent overall Saturday falloff — not unusual for a second day when preview totals are combined with Friday — suggests that older audiences more familiar with the original and more likely to respond to strong reviews didn’t rally behind it. (The audience skewed very male; marketing failed to draw women.)

The 163-minute length, dense plot, and the studio’s insistence on sustaining mystery about key plot elements are among the factors leading to the tepid response. (This follows similar attempts from Paramount to control plot reveals on the disappointing “mother!”) “Blade Runner 2049” was among the key players in the long-shot drive for 2017 box office parity with 2016. That looked possible when the incredible “It” opened a few weeks ago. But hopes for a continued rebound included “Blade Runner” opening to perhaps double this amount.

This tepid gross combined with two other weak new films managed to achieve a total about the same as a year ago. But unless there are strong performers ahead, increasingly it looks like the year will fall as much as five per cent below 2016.

Two other new entries, “The Mountain Between Us” (20th Century Fox) and “My Little Pony” (Lionsgate), showed mediocre results. Both represent the sort of mid-level release that increasingly finds difficulty gaining traction. An adaptation of a bestselling novel about two plane crash survivors played by sexy British stars Idris Elba and Kate Winslet, “The Mountain Between Us” managed only $10 million, weak for its $35-million budget. Like “Blade Runner 2049” director Villeneuve (“Incendies”), “The Mountain Between Us” director Hany Abu-Assad broke out when two of his Palestinian films were nominated for foreign-language Oscars (“Paradise Now,” “Omar”).

Lionsgate handled distribution for the Hasbro-financed “My Little Pony.” Its showing is yet another example of animated features not resonating as much as they normally would.

“It”

Brooke Palmer

Then there’s “It,” still third in its fifth weekend, higher than any other film released before this week since it opened. Now at $304 million, the ultimate domestic take should well exceed the $325 million.

The Top Ten

1. Blade Runner 2049 (Warner Bros.) NEW – Cinemascore: A-; Metacritic: 81; Est. budget: $155 million

$31,525,000 in 4,058 theaters; PTA (per theater average): $7,769; Cumulative: $31,525,000

2. The Mountain Between Us (20th Century Fox) NEW – Cinemascore: A-; Metacritic: 47; Est. budget: $35 million

$10,100,000 in 3,088 theaters; PTA: $3.271; Cumulative: $10,100,000

3. It (Warner Bros.) Week 5; Last weekend #2

$9,655,000 (-43%) in 3,605 theaters (-312); PTA: $2,678; Cumulative: $304,933,000

4. My Little Pony (Lionsgate) NEW – Cinemascore: A- ; Metacritic: 41; Est. budget: $XXXXX

$8.800,000 in 2,528 theaters; PTA: $3,481; Cumulative: $8,800,000

5. Kingsman: The Royal Circle (20th Century Fox) Week 3; Last weekend #1

$8,100,000 (-52%) in 3,488 theaters (-550); PTA: $2,322; Cumulative: $79,964,000

6. American Made (Universal) Week 2; Last weekend #3

$8,073,000 (-52%) in 3,031 theaters (+7); PTA: $2,663; Cumulative: $30,445,000

7. The LEGO Ninjago Movie (Warner Bros.) Week 3; Last weekend #4

$6,750,000 (-42%) in 3,611 theaters (-436); PTA: $1,869; Cumulative: $43,824,000

8. Victoria & Abdul (Focus) Week 3; Last weekend #11

$4,142,000 (+272%) in 732 theaters (+655); PTA: $5,658; Cumulative: $5,958,000

9. Flatliners (Sony) Week 2; Last weekend #5

$3,800,000 (-%) in 2,552 theaters (no change); PTA: $1,489; Cumulative: $5,958,000

10. Battle of the Sexes (Fox Searchlight) Week 3; Last weekend #6

$2,400,000 (-30%) in 1,822 theaters (+609); PTA: $1,317; Cumulative: $7,678,000

Source: IndieWire film

October 8, 2017

‘Bill and Ted 3’ Will Be Called ‘Bill and Ted Face the Music,’ Reveals Keanu Reeves

Now more than ever, the world needs to be reminded to be excellent to each other. Talk of a third “Bill and Ted” movie has kept hope alive that we’ll see Bill S. Preston, Esq. and Ted “Theodore” Logan once again, even if George Carlin’s death means Rufus won’t be joining them. Last night at New Yorker Festival, Keanu Reeves offered the whoa-worthy news that the third installment has a title: “Bill and Ted Face the Music.”

“We’re trying” to get it made, Keanu said. “There’s a script out there. We’re just trying to get it made. Show business is tough.” As for the plot, “it’s a cautionary tale. They’re supposed to save the world. But when we see them, they haven’t saved the world, and they’re married and have kids. And they’re playing to nobody. But they have to write the song…and face the music! Hopefully we’ll make it before I’m 60.”

Considering that some have speculated Keanu is actually immortal, that shouldn’t be too much of a problem. Read more here.

Source: IndieWire film

October 8, 2017

Ridley Scott Wants the Next ‘Alien’ Movie to Focus on Artificial Intelligence Instead of the Xenomorph

Big things have small beginnings. They also have lots of sequels and prequels. Ridley Scott shows no signs of slowing down after “Prometheus” and “Alien: Covenant,” though he says that the next installment in his enduring science-fiction franchise will focus less on the xenomorph and more on artificial intelligence.

“I think the evolution of the Alien himself is nearly over, but what I was trying to do was transcend and move to another story, which would be taken over by A.I.s,” he tells Empire in a new podcast interview. “The world that the A.I. might create as a leader if he finds himself on a new planet. We have actually quite a big layout for the next one.”

One might reasonably conclude that this means David, the philosophical (and homicidal) android played by Michael Fassbender, will continue to anchor this new strain of the “Alien” mythos. Elsewhere in artificial intelligence, Scott just produced “Blade Runner 2049,” a sequel to the sci-fi classic he directed after “Alien.”

Source: IndieWire film

October 8, 2017

Ava DuVernay Opens Up About ‘A Wrinkle in Time’: ‘I Love It, but I Don’t Know How It’s Going to Be Received’

Ava DuVernay took a break from working on “A Wrinkle in Time” to speak at the New Yorker Festival last night, where she opened up about her doubts that audiences will be as into her adaptation of Madeleine L’Engle’s beloved science-fiction/fantasy novel as she is: “I love it, but I don’t know how it’s going to be received.”

“I feel something very deep in my gut when Oprah’s voice says, ‘There’s a darkness in the world and the only one who can stop it is…’ smash cut to a black girl,” she added. “I don’t know. I don’t know. I don’t know if people are going to feel that like I feel that.” Storm Reid plays Meg Murry, the heroine in question, and is joined by Reese Witherspoon, Mindy Kaling, Zach Galifianakis, Chris Pine, Gugu Mbatha-Raw, Michael Peña, and André Holland.

Part of DuVernay’s uncertainty arises from how different “A Wrinkle in Time” will be from most movies of its kind for the simple fact that its hero is a world-saving girl of color. “It’s not shied away from. It is front and center,” she said.

“She is hopping planets and flying and saving the freakin’ world. She’s saving the world. Saving the world from darkness, and in the film darkness is defined as the darkness within us. She’s saving us from ourselves. It’s deep.” The movie will be released by Disney next March.

Perhaps because they weren’t as high-profile, DuVernay didn’t have these doubts on her last two films. “With ‘The 13th,’ I was, ‘You know what. I don’t care. This is what I want to put out. If people get it, they get it. If they don’t, I’m onto the next.’” said DuVernay. “With ‘Selma,’ I was like, ‘You know what, I’m nervous…but I know that I believe in this. I know that this is a record, and it needs to be there. Some other people are going to get this.’ This, I don’t know.” Read her full comments here.

Source: IndieWire film

October 8, 2017

‘The Florida Project’ Scores at Specialty Box Office as ‘Victoria & Abdul’ Soars

Fresh off the New York Film Festival, Sean Baker’s acclaimed “The Florida Project” (A24) sprinted ahead of the over-crowded fall specialty pack, as some 35 titles launched in limited runs this weekend. Backed by some of the best reviews of the year, the Cannes pickup marks Baker’s breakout following succès d’estime “Tangerine.”

“Victoria & Abdul” (Focus) is setting the early pace for this awards season’s contenders, with Judi Dench showing yet again her strength as a draw.

Most other openings appealed to niche audiences, with several documentaries competing to get review attention that might position them for later awards consideration. While another NYFF title, Agnes Varda and J.R.’s “Faces, Places” (Cohen), nabbed the best reviews, none did more than modest business.

Opening

The Florida Project (A24) – Metacritic: 94; Festivals include: Cannes, Toronto, New York 2017

$152,622 in 4 theaters; PTA (per theater average): $38,156

Sean Baker’s sixth feature follows his critical success “Tangerine” two years ago with a stellar New York/Los Angeles debut that stands out among fall season releases so far. But the most impressive comparison is to a similar Southern and non-professional kids’ cast festival boosted title. Fox Searchlight’s “Beasts of the Southern Wild” in 2012 opened in four similar theaters to a slightly better $42,000 PTA on its way to a $12 million-plus total and four top Oscar nominations. It is far ahead of “Tangerine” ($15,000 PTA in four theaters its initial weekend).

Whether “Florida” will reach the same heights as “Beasts” is yet to be determined, but with even better reviews so far and with “Moonlight” distributor A24 strategizing for the long haul, Baker’s humane portrait of Orlando’s poverty row is off to a strong start, even if it’s not as strong as the “Moonlight” opening ($100,000 PTA). “Florida” was the best grosser at all of its theaters other than “Blade Runner 2049” (also with strong reviews but more premium pricing) where both played.

What comes next: An elevated national expansion starts this Friday.

“Dina”

Dina (The Orchard) – Metacritic: 78; Festivals include: Sundance, Seattle 2017

$8,035 in 1 theater; PTA: $8,035

The Sundance Documentary Grand Jury winner takes an unusual path — an actual theatrical opening, no Netflix, cable, PBS parallel dates — with its New York exclusive opening. Telling the story of a middle age women with Asperger’s and her similar fiancé as they ponder the intimate details of marriage, this sensitive portrait of a couple has received decent reviews to help it get attention outside the usual social issue or celebrity/creative world stories of non-fiction films. This is a decent initial response for a not overtly commercial documentary, which has its roots in “Best Boy,” the 1979 Oscar winner about an aging Down’s Syndrome man.

What comes next: Los Angeles and Philadelphia open this Friday, with an ambitious 150 or more dates planned ahead.

“Una”

Una (Swen) – Metacritic: 61; Festivals include: Toronto,  Telluride 2016

$7,300 in 1 theater; PTA: $7,300

Rooney Mara looks up the older man (Ben Mendelsohn) she ran off with as a minor 15 years ago. She and her costar have garnered upbeat reviews since the drama’s festival premiere over a year ago. Its initial theatrical release in Manhattan showed modest interest.

What comes next: Los Angeles opens this Friday.

Chavela (Music Box) – Metacritic: 68; Festivals include: Berlin, Hot Docs, Seattle 2017

$20,500 in 5 theaters; PTA: $5,125; Cumulative: $24,553

This documentary about Chavela Vargas, the legendary performer of Mexican ranchera music and a Latin-American and LGBT icon, opened in New York, Los Angeles and the San Francisco Bay area to respectable results (New York began on Wednesday). She is not well-known to most art house customers, but this might find some interest ahead with non-traditional specialized audiences.

What comes next: San Diego and some Los Angeles expansion come this week, with more dates, including Texas and Florida Latino-oriented theaters, ahead.

“Faces, Places”

Faces, Places (Cohen) – Metacritic: 96; Festivals include: Cannes, Telluride, Toronto, New York 2017

$29,807 in 5 theaters; PTA: $5,961

French filmmaker icon Agnes Varda, at 89 the oldest active woman director and pending honorary Oscar recipient, made this documentary — likely her final film — with French artist JR (whose identity is unknown). At this point, it is the best reviewed film released this year. Its road movie/tone poem content make it a limited sell and more unconventional that most commercial documentaries, but this opening in New York and Los Angeles (including some suburban theaters in the latter city) is respectable. The gross is similar to how her 2010 “The Beaches of Agnes” opened. That film ended up with a decent for a niche title like this $239,000.

What comes next: This will expand to national art house dates in coming weeks.

Architects of Denial (Dada Films)

$50,082 in 11 theaters; PTA: $4,593; also available on Video of Demand

This documentary about past and present forces behind persecution of Armenians (recently a popular subject in films) earned a respectable response in mostly Los Angeles-area theaters (the base of most of the American descendants). It wasn’t just a first-night crowd as often happens with films with grass-roots support — Saturday increased 14 per cent. More impressively, the theatrical opening comes parallel to home availability options.

Also available on Video on Demand:

Walking Out (IFC/Sundance 2017) – $5,236 in 2 theaters

Harry Dean Stanton Lucky

“Lucky”

Magnolia Pictures

Week Two

Lucky (Magnolia)

$(est.) 97,000 in 32 theaters (+27); PTA: $(est.) 3,031; Cumulative: $(est.) 148,000

Harry Dean Stanton’s final lead performance continues to be the draw as this story of a 90- year-old man facing his mortality expanded to top markets this week. The response is modest, but a strong Saturday uptick suggests positive response among audiences.

Mark Felt: The Man Who Brought Down the White House (Sony Pictures Classics)

$56,382 in 17 theaters (+12); PTA: $3.317; Cumulative: $105,477

Liam Neeson as Watergate’s Deep Throat expanded to top markets with negligible results similar to last weekend’s platform debut.

“Take Every Wave”

Take Every Wave: The Life of Laird Hamilton (IFC)

$28,063 in 12 theaters (+11); PTA: $2,339; Cumulative: $43,868

This documentary about the surfing legend expanded (though not yet to New York) with minor response from devotees to the sport.

Ongoing/expanding (Grosses over $50,000 in under 1,000 theaters + 1)

Victoria & Abdul (Focus) Week 3

$4,142,000 in 732 theaters (+655); Cumulative: $5,958,000

A rapid expansion for this biopic about Queen Victoria’s friendship with an Indian who dared to look her in the eye is soaring with Judi Dench the main draw. This placed #8 overall for the weekend despite its only 732-theater run. The result is particularly strong considering its mixed reviews (57 at Metacritic), a sure sign that Dench’s marquee value reigns supreme. This is the best third-week expansion for a limited release since “The Big Sick,” including a better showing than the recent Weinstein success “Wind River.” Expect with likely awards attention ahead for Dench and strong support from Focus for this to add much more to its total.

BATTLE OF THE SEXES (2017)Emma StonePhoto Credit: Melinda Sue Gordon/Twentieth Century Fox

“Battle of the Sexes”

Melinda Sue Gordon/Twentieth Century Fox

Battle of the Sexes (20th Century Fox) Week 3

$2,400,000 in 1,822 theaters (+609);  Cumulative: $7,678,000

Another significant widening for the retelling of the 70s tennis match between Billy Jean King and Bobby Riggs, with the result of drop of about 50 per cent for the PTA. This has had a respectable run so far, but looks to top out somewhere in the $12-million range. Of note is that despite playing in about 1,100 more theaters than “Victoria & Abdul,” also in its third weekend, it grossed $1.7 million less this weekend to place #10 overall.

Stronger (Roadside Attractions) Week 3

$256,120 in 335 theaters (-310);  Cumulative: $3,748,000

A quick fade out for Jake Gyllenhaal’s acclaimed performance as a Boston Marathon bombing survivor, which despite strong support from Roadside Attractions and a multi-hundred theater break will not reach much more than $4 million.

Wind River (Weinstein) Week 10

$192,121 in 356 theaters (-536);  Cumulative: $33,219,000

Still adding gross to its total late in the run, Taylor Sheridan’s contemporary Western set drama has been the strongest Weinstein Company performer this year, and is their only Oscar candidate still standing.

"Loving Vincent"

“Loving Vincent”

Loving Vincent (Good Deed) Week 3

$156,925 in 28 theaters (+24); Cumulative: $277,247

The very impressive results continue for this animated fantasy based on Van Gogh’s paintings. This is one of the most impressive niche releases of the year, and shows how targeting those who have an intense interest in an artist can lead to wide multi-city interest.

Brad’s Status (Annapurna) Week 4

$104,400 in 247 theaters (-206);  Cumulative: $2,022,000

Mike White’s film with Ben Stiller as a high school senior’s dad traveling to colleges has collapsed with little interest for this Amazon-backed film.

Viceroy’s House (IFC) Week 6

$53,742 in 73 theaters (-32); Cumulative: $1,018,000

The other biopic about Britain and its Indian outpost late in its run has crossed the $1 million mark.

Also noted:

Dolores (PBS) – $41,635 in 27 theaters; Cumulative: $417,491

Columbus (Superlative) – $26,431 in 36 theaters; Cumulative: $892,778

The Big Sick (Lionsgate) – $20,000 in 34 theaters; Cumulative: $42,804,000; also available on Video on Demand

Rebel in the Rye (IFC) – $10,284 in 32 theaters; Cumulative: $355,904

Source: IndieWire film

October 7, 2017

How to Start a Podcast: Editing and Mixing

[If you missed part 1, check out How to Start a Podcast: Recording]<p>Podcasting is harder than it seems. You’d think you could just put a couple of …
Source: CW’s Flipboard Feed

October 6, 2017

SXSW Alumni Film Releases – October 2017

Discover some of the SXSW alumni films on release this month, such as ASSHOLES, DEALT, and LANE 1974. Continue on for a complete list with trailers and more info.

ASSHOLES
Narrative Feature, World Premiere, 2017
Website | Trailer

However gross you think this film is…double it. Then multiply that by 1000. Then go see it.
In Theaters October 6
DVD October 26

BABY DRIVER
Narrative Feature, World Premiere, 2017
Website | Trailer

The latest film from cult favorite Edgar Wright stars John Hamm, Kevin Spacey and rising star Ansel Elgort in a relentlessly gripping thriller with a killer soundtrack.
Now On Demand
Blu-ray/DVD October 10

BARRACUDA (screened at SXSW as LA BARRACUDA
Narrative Feature, World Premiere, 2017
Website | Trailer

Dark secrets and family trauma abound in this brooding Texas drama from Julia Halperin & Jason Cortlund.
In Theaters October 6

BILL NYE: SCIENCE GUY
Documentary Feature, World Premiere, 2017
Website | Trailer

One of America’s most beloved scientists takes us along for the ride on his journey to save the world.

In Theaters October 27

DEALT
Documentary Feature, World Premiere, 2017
Website | Trailer

The extraordinary story of one of the world’s greatest card magicians…who happens to be blind.
In Theaters October 20

I KNOW YOU FROM SOMEWHERE
Narrative Short, 2017
Website | Trailer

Andrew Fitzgerald’s film, now online, is a terrifying glimpse into the social media abyss. Enjoy!
Now Online

LANE 1974
Narrative Feature, World Premiere, 2017
Website | Trailer

It’s 1974. 13-year-old Lane lives on a beautiful Northern California commune, wild and free, until her mother, a rebel and iconoclast, alienates their small group from the security and safety of the community land. They begin moving from one unlikely situation to another, leaving normal life far behind. After a series of dangerous events, Lane must decide how to survive.

Now available on iTunes and On Demand

MAINELAND
Narrative Feature, World Premiere, 2017
Website | Trailer

Poignant and timely, Miao Wang’s follow up to Beijing Taxi is a nuanced portrait of a particular facet of the immigrant experience, as two Chinese teenagers grapple with life in the US educational system.
In Theaters October 4

M.F.A.
Narrative Feature, World Premiere, 2017
Website | Trailer

A brutal, uncompromisingly feminist update of the revenge thriller, feature a stunning lead performance from Francesca Eastwood.
In Theaters October 13
On Demand October 13

RAT FILM
Narrative Feature, 2017
Website | Trailer

Theo Anthony’s strange, visionary film maps out a bold new history of Baltimore using the humble rat as an exploratory vehicle.
In Theaters October 15

THE STRANGE ONES
Narrative Feature, World Premiere, 2017
Website

The long-awaited debut feature from Christopher Radcliff and Lauren Wolkstein is an enigmatic study of fraternal tension and the resonance of long-buried secrets.
In Theaters October 20

SYLVIO
Narrative Feature, World Premiere, 2017
Website | Trailer

Just an everyday tale of a small town gorilla in the midst of an existential crisis
In Theaters October 12

TRAGEDY GIRLS
Narrative Feature, World Premiere, 2017
Website | Trailer

Social media-induced ennui, and millennial aggression collide in this fearless, genre-flipping thrill ride that pulls no punches.
In Theaters October 20

UNREST
Documentary Feature, 2017
Website | Trailer

A deeply personal, startlingly raw, urgent investigation of the grossly misunderstood phenomenon of Chronic Fatigue Syndrome
On Demand October 10

WALKING OUT
Narrative Feature, World Premiere, 2017
Website | Trailer

A father/son bonding trip turns into a frost-bitten fight for survival in this rugged thriller, starring Matt Bomer and Josh Wiggins.
In Theaters October 6

THE WORK
Narrative Feature, World Premiere, 2017
Website | Trailer

A powerful examination of rehabilitation and masculine fragility that’s as compassionate is it is confrontational and emotionally hardcore. A truly unmissable film.
In Theaters October 20

The post SXSW Alumni Film Releases – October 2017 appeared first on SXSW.

Source: SxSW Film

October 6, 2017

Bring Your Podcast to SXSW 2018: Apply By Friday, October 20

2017 SXSW "My Wife Hates Me" Podcast Recording – Photo by Mindy Tucker

Broadcast your podcast from SXSW 2018 in front of a live audience at the SXSW Podcast Stage. Applications are open now through Friday, October 20.

Open to all badgeholders, the second annual SXSW Podcast Stage will host up to 36 podcasts covering all facets of life. All genres are encouraged to apply including comedy, gaming, music, film, technology, science, news, and more. There is no submission fee, and the stage, soundboard, mics, production, and staffing will all be free of charge.

Position your podcast in front of a new, diverse audience including some of the world’s top industry experts, influencers, creatives, professionals, and beyond. Apply before the deadline on Friday, October 20 at 11:59pm PT.

Apply Here

2017 SXSW “My Wife Hates Me” Podcast Recording – Photo by Mindy Tucker

The post Bring Your Podcast to SXSW 2018: Apply By Friday, October 20 appeared first on SXSW.

Source: SxSW Film