an annual celebration of human creativity and of getting in line
SXSW 2025
South by Southwest (SXSW) 2024 once again proved why it’s one of the most exciting festivals on the calendar, delivering a mix of fresh filmmaking talent and returning faces in film and television. While I didn’t make the trek to Austin this year, I still caught several standout titles remotely (thank you, as always, to PR groups/producers for that kindness). Some, like ON SWIFT HORSES—a sweeping queer romance starring Daisy Edgar-Jones, Jacob Elordi and Will Poulter—and FRIENDSHIP, Tim Robinson & Paul Rudd’s latest crowd-pleaser, I had already seen at earlier screenings. I also had the chance to check out THE STUDIO, a satirical take on the inner workings of Hollywood that is poised to be a big ‘ole hit when it premieres later in March. Beyond that, I was able to review ASH for Loud and Clear Reviews, enjoying some incredible visuals with an, at times, iffy narrative.
SXSW has come a long way since its modest beginnings as a music festival in 1987, evolving into a massive cultural event that takes over downtown Austin every spring. Its film lineup has developed a reputation for blending boffo star power with independent gems that break big, often launching projects that become critical and audience favorites.
Looking ahead, SXSW 2025 is set for March 7-15. Will I finally experience it in person? That remains to be seen. But whether I’m watching from home or soaking in the Austin energy firsthand, I’m already eager to see what next year has in store.
MY UNCLE JENS
Akam, a young literature teacher, lives a comfortable life in Oslo until his estranged uncle from the Iranian part of Kurdistan comes for a surprise visit. Despite limited space in his shared flat with friends, Akam feels obligated to invite his uncle to stay for a few days. However, his uncle quickly makes himself at home and shows no sign of leaving anytime soon. Torn between his sense of familial duty and growing tension in the flat, Akam begins to suspect there's more to his uncle's visit than just a casual trip. What follows is a series of revelations and unexpected events that could have life changing consequences for them both.
I’ll admit, I originally gravitated toward MY UNCLE JENS expecting a classic “nightmare roommate” comedy—because, let’s be honest, based on the poster and preview, who wouldn’t? An uncle showing up unannounced in the middle of the night at the home of a nephew he barely knows, a home already crowded with two roommates who aren’t exactly eager to accommodate a new, unexpected guest? That setup practically screams hijinks ensue. And at first, writer/director Brwa Vahabpour leans into that expectation, delivering a light comedy that gets the chuckles and feels like it might coast toward the inevitable happy ending where two unlikely companions finally see eye to eye.
But MY UNCLE JENS has something far more intriguing up its sleeve, and I won’t spoil it—only to say that it leads to a film willing to surprise and move, with a clarity I’ve been missing in mainstream movies lately. Vahabpour plays a clever game, waiting until we’re lulled into the comfort of formula before subtly, then swiftly, pulling the rug out from under us. It’s a wholly welcome change of pace from a story we’ve seen countless times, one that resonates deeply with our modern climate of detachment, destabilization, and displacement.
I particularly enjoyed how Peiman Azizpour’s Akim tries to accommodate his Uncle Khdr (Hamza Agooshi) for as long as possible, even as his own mother hints that the elder may be bad news. There’s an unspoken element of cultural and generational respect here that feels refreshingly honest—never manipulative, never a case of one character “getting one over” on another. This is a deceptively human story, laced with comedy, and if that humor is what draws people in, it’s the depth of Vahabpour’s storytelling that will keep them engaged.
THE SURRENDER
A fraught mother-daughter relationship is put to a terrifying test when the family patriarch dies, and the grieving mother hires a mysterious stranger to bring her husband back from the dead. As the bizarre and brutal resurrection spirals out of control, both women must confront their differences as they fight for their lives - and for each other.
With horror, subtlety is good… sometimes. Yet, in the same breath, I’ll say that when a filmmaker is bold enough to open their film with a grotesque, terrifying image, it feels like they’re standing on a table, banging a metal spoon against a copper pot, and screaming, “This is what you’re in for!” And oh, do I love it. I really, really love it.
After that amazing first shot, writer/director Julia Max dials things back, easing the audience into the story and introducing us to Barbara (Kate Burton) and Megan (Colby Minifie), a mother and daughter keeping vigil over their husband/father, Robert (Vaughn Armstrong), who is nearing the end of his long battle with cancer. Megan’s strained relationship with both parents is evident, and when Robert dies, there’s no time for grieving or for mother and daughter to bond over their shared loss. Barbara has a phone call to make…
What follows involves ritual, dark magic, sacrifice, and a whole lot of blood. In a less sophisticated production, it might still have been fun in a grimy, gooey way. However, The Surrender rises above thanks to the filmmakers’ fierce commitment to treating the subject seriously and two riveting lead performances. While the film loses its bite whenever it shifts focus away from Burton and Minifie—especially in Minifie’s awkward, exposition-heavy interactions with the ghost of her father—it more than makes up for it with the electrifying tension and verbal showdowns between the two women.
Burton is a master, both onscreen and onstage (I still feel lucky to have seen her perform live on Broadway), and she remains vastly underrated for her versatility. Minifie, already familiar to audiences from The Boys on Prime Video, goes beyond her previous work to craft a fully dimensional character we aren’t compelled to like all the time who is undone by one trauma, only to be faced with even greater horrors.
It’s no surprise The Surrender was picked up by Shudder—it fits perfectly with their brand and will please fans who like their chills served with style. Despite its modest budget, the film never looks cheap, delivering where it matters most. Max is a director to watch, as are the effects and makeup teams, who, ahem, flesh out the grotesque sights with beautifully terrifying designs.
40 ACRES
After a series of plagues and wars leaves society in ruins, the Freemans are surviving — even thriving — on a farm in the middle of nowhere... so long as they repel the occasional raiding party. Former soldier Hailey and her partner Galen fled the collapse along with their children, training them to fight (and, yes, kill). But now Hailey’s eldest Emanuel is a young man, and when he meets a young woman in the forest beyond the fence, his need for human contact could place the whole family in jeopardy.
I caught the world premiere of this gripping thriller at TIFF and am so happy to see it slowly winding its way through the festival circuit. I’m glad to see that Magnolia Picturs acquired the rights to this because I have a strong feeling they will give it a spotlight release.
Here is my original review from TIFF:
It’s getting increasingly rare to find post-apocalyptic thrillers that can maintain unpredictability (that aren’t based on pre-existing IP). Still, the unassuming 40 ACRES is a nerve-twisting example of how to do it right. Co-writer and director R.T. Thorne’s feature debut is a significant achievement in sharp storytelling and carefully constructed world-building.
The Canadian production benefits from Thorne’s music video background, not only because it’s tightly edited and creatively shot but because it can tell multiple mini-stories within the small cast in service of the larger narrative. Incredible lead performances from Danielle Deadwyler, Michael Greyeyes, and Kataem O’Connor as family members standing their ground in a world of unimaginable violence and efficient pacing keep audiences on the edge of their seats. I can’t overstate how nice it was to reach the 3/4 mark, and still have no idea what will happen at the end.
The film sets up perilously high stakes for its characters, and our expectations; Thorne’s ability to resolve them so satisfactorily (with a surprising amount of emotion) bodes well for future projects.
ASH
A woman wakes up on a distant planet and finds the crew of her space station viciously killed. Her investigation into what happened sets in motion a terrifying chain of events.
I recently reviewed this new film from musician turned director Flying Lotus for Loud and Clear Reviews. You can check out the full review here, but I’ll provide a short summary of it as well.
A hypnotic descent into paranoia and survival, Ash engulfs viewers in a nightmarish vision of the future where trust is scarce, and reality is ever-shifting. Director Flying Lotus crafts a sleek, unsettling sci-fi thriller that burns slow but rewards patience with striking visuals and a final act that delivers.
FRIENDSHIP
Suburban dad Craig has his life turned upside down by the arrival of a new neighbor. As Craig’s attempts to make an adult male friend spiral out of control, their blossoming relationship threatens to ruin both of their lives.
After The Substance, this was the film at TIFF I heard the most people talking about, either a) thrilled they got a ticket to the Midnight Madness premiere or b) annoyed that their usual contacts couldn’t get them into that showing or the other screenings. As you’ll see in my brief review below, I lucked out in snagging a ticket at the last minute and wow, was I happy I was in that room. If the TIFF crowd went wild, I imagine the same excitement was there for SXSW. This terrifically funny film is going to be at our local Minneapolis/St. Paul International Film Fest in April, and even though I’ve seen it, it’s still on my most anticipated list.
Here is my original review from TIFF:
From the sound of it, I was the only one in the super duper hot ticket sold-out Midnight Madness screening world premiere of writer/director Andrew DeYoung FRIENDSHIP who wasn’t already familiar with comedian Tim Robinson.
For the purposes of this review, that’s a good thing, too, because only a newbie to Robinson’s brand of comedy (chaotic, absurd, loud) could honestly tell you that his feature acting debut is a legit laugh riot, a fall out of your chair while holding your sides sort of situation that only gets better as it goes.
Robinson co-stars with Paul Rudd as neighbors who buddy up only to have Rudd pull away, sending the friendless and awkward Robinson into a spiral in his work and personal relationships. Kate Mara is Robinson’s over it wife and is a solid, deadpan straight man, letting Robinson and Rudd do the comedy heavy lifting. DeYoung’s film plays like a mid-life version of the coming-of-age stories we’ve seen before, only given a consistently funny twist.
I have to see it again ASAP, mainly because so many lines were drowned out by roars of laughter from the crowd here at TIFF.
ON SWIFT HORSES
Muriel and her husband Lee are beginning a bright new life in California when he returns from the Korean War. But their newfound stability is upended by the arrival of Lee’s charismatic brother, Julius, a wayward gambler with a secret past. A dangerous love triangle quickly forms. When Julius takes off in search of the young card cheat he’s fallen for, Muriel’s longing for something more propels her into a secret life of her own, gambling on racehorses and exploring a love she never dreamed possible.
While it came into TIFF with prestigious distribution already in place (Sony Pictures Classics), I’m a little surprised that ON SWIFT HORSES is still making the festival rounds six months later. While it wasn’t likely to compete with 2024 Oscar players, there’s something special about this unpredictable tale of love in all its forms, set in the late 1950s. This is another title that went to SXSW and will be playing at our local festival in April. While I enjoyed it and was surprised by its turns that were equal parts delicate and devastating, and will see it again eventually, I’m not certain I’ll forgo a newer title to catch it again. That doesn’t mean I won’t recommend it to others.
Here is my original review from TIFF:
I wasn’t familiar with Shannon Pufahl’s novel before tonight’s world premiere of ON SWIFT HORSES, director Daniel Minihan’s adaptation of her beautiful, sensitive drama about the secrets we keep for ourselves, the pain we share with the ones we love the most, and the lies that have silenced opportunities to live with authenticity.
Daisy Edgar-Jones, Jacob Elordi, Will Poulter, Diego Calva, and Sasha Calle are a quintet of red-hot stars that populate this tale, playing broken people at different stages of recompense. Gorgeously shot but a bit meandering, the final moments offer a range of surprising emotional payoffs that audiences will either love or loathe—a special shout-out to Poulter’s luxe hair, which could have a centerfold in Playgirl.
THE STUDIO
Seth Rogen stars as Matt Remick, the newly appointed head of embattled Continental Studios. As movies struggle to stay alive and relevant, Matt and his core team of infighting executives battle their own insecurities as they wrangle narcissistic artists and craven corporate overlords in the ever-elusive pursuit of making great films. With their power suits masking their neverending sense of panic, every party, set visit, casting decision, marketing meeting, and award show presents them with an opportunity for glittering success or career-ending catastrophe. As someone who eats, sleeps, and breathes movies, it's the job Matt's been pursuing his whole life, and it may very well destroy him.
SXSW Audiences were able to see the premiere episode of the new Hollywood satire, THE STUDIO which was written, executive produced, and directed by Seth Rogen and writing partner Evan Goldberg. I was extremely fortunate to watch the entire series this past January and already knew what those viewers were about to find out — that Rogen and Goldberg had created one of the most scathing comedies about the movie industry ever made.
Perfect comedies are rare—true, irrefutable gems where every element clicks, from the cast firing on all cylinders to the behind-the-scenes magic making it all look effortless. AppleTV’s THE STUDIO is one of those unicorns. Hollywood will love it because it’s about them; we will devour it because it’s about Hollywood. With each episode, the characters get richer, the satire sharper, and the laughs deeper. Jokes introduced in early episodes continue to pay off throughout the season, and not in an obnoxiously overly smug, too clever by half way.
If Rogen doesn’t sweep every award for acting, producing, and writing this, then awards officially mean nothing. It is without question Rogen’s finest hour, freed from his usual schtick, it’s a performance that showcases his dedication to rounding out all parts of his talent. The supporting cast (Catherine O’Hara, Ike Barinholtz, Chase Sui Wonders, Kathryn Hahn) are A+ and the guest stars (Sarah Polley in particular in an episode that was filmed in one take) successfully skewer not only the delicate ego of Tinsel Town but their own images as well. It’s totally, completely, awesomely wonderful.
Already counting down the days until season two.