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It s (nearly) time for the show. AFS Cinema is getting ready to reopen, and Austin Film Society has launched a Kickstarter to get the two-screen theatre glowing again. (Photo by David Brendan Hall)
AFS Cinema, one of the gems of Austin s film scene, is coming back, and Austin Film Society has launched a special fundraiser to get the projector shining and the screen glowing once more.
The cinema closed at the beginning of the pandemic: in the interim AFS has launched its AFS at Home virtual cinema streaming platform, as well as running drive-in screenings for special events like the Sundance Film Festival. However, with vaccination rates rising and audiences coming back to the theatre, the plan is to reopen the physical two-screen cinema at 6406 N. I-35 later this summer.
Thief. Below: the recent Criterion Blu-ray after Mann s restoration
When Dr. James Steffen was in high school, a friend had an encounter with a film called
Invasion of the Bee Girls, a 1973 exploitation film. His friend described seeing the film which included a number of scandalous scenes, including an explicit topless scene broadcast on late night television. But when the film eventually made its way to home video, Steffen felt a little frustrated. Scenes his friend had described from the television broadcast were nowhere to be found. Somewhere along the way, some entity had chosen to excise certain scenes from the picture. All was not lost, however. In 2017, Shout Factory released the full, uncut film on blu-ray, and Steffen finally got to see the film as intended.
12 January 2021
Films have ways of tangling your expectations, unlike other art forms. Perhaps this is due to their time-based, immersive quality or because of the profound ways they can viscerally grip you and elevate the medium in unexpected, transcendent directions. It’s difficult to place one’s finger on the exact reasoning since the very medium in part defies verbal explanation. Nonetheless, when the moment happens, the countless hours, days, and years of wading through mediocre films wash away to remind you of what drew you to the art form in the first place.
Straight from its opening,
Minding the Gap reveals a skilled filmmaker behind the camera. After a failed attempt to climb a rickety fire escape, three boys skateboard down the ramp of a parking garage and out into the streets of the rust belt town of Rockford, Illinois. The camera deftly follows their movements, imminently tracking each bob and weave. They skate under the closed gate of the garage with the camera
Whereâs it on? Film4, Monday, 12.40am
Now making music videos and commercials over in LA, British filmmaker Daniel Wolfe has yet to follow up this startling debut feature from 2014. Co-written with his brother Matthew, it made enough of an impact at the time to be selected for the Directorsâ Fortnight section at Cannes. Moody, provocative and upsetting, itâs a social realist thriller in which a young British-Pakistani woman (Sameena Jabeen Ahmed, who won best British newcomer at that yearâs London Film Festival) hides out with her white boyfriend in a caravan in Yorkshire to evade thugs hired by her brother to track them down. The brutal subject of honour killings and bloodthirsty familial violence led many critics to compare Catch Me Daddy to John Fordâs classic revenge western The Searchers (1956) â or at least a Ken Loach remoulding thereof. But thereâs a driving ferocity to the way this savage drama proceeds that, combined with atmospheri