March 16, 2006
SXSW Elsewhere. 3.
"SXSW prides itself on opposing whatever the supposed dominant paradigms of the entertainment industry are, and both the music and film festivals have been accused of creating a cultural bubble, only tangentially connected to America. This year, though, you could feel a note ranging from concern to rage in many of the films and conversations here - a worry and anger also felt in Hollywood, which wound up giving its biggest award to a preachy little movie about race relations." Andrew O'Hehir's latest roundup for Salon covers OilCrash (screenings), Maxed Out (screenings), 51 Birch Street (screenings), The Life of Reilly (screenings), Bata-ville: We Are Not Afraid of the Future (screenings), Fired! (screenings) and, well, Parker Posey.
"What Have We Seen?" asks the Austin Chronicle. Rhetorically, as the answer follows immediately: "Well, quite a lot, actually." Brief reviews follow. Also: Kimberley Jones on SXSW Film Festival award-winner AMERICANese (no more screenings, I'm afraid).
At Reverse Shot, robbiefreeling finds A Scanner Darkly "one of the least audience-friendly films I've seen come from a major director for quite some time." Nonetheless: "Most revelatory is how Linklater's talkative, free-associative style, which is usually confined to restricted time narratives (Slacker, Dazed and Confused, SubUrbia, Before Sunrise and Sunset, Tape, Waking Life), works as a wonderful approximation of Dick’s head-on dives into sci-fi stream of consciousness."
Why mention it? Because Scanner was screened yesterday afternoon to the lucky first 1500 or so to arrive early enough - way early enough - to make it into the Paramount Theater. Unfortunately, I was among those left outside; Ami Kealoha made it, though (as did others we'll be hearing from soon), and blogs the event briefly at Cool Hunting.
More SXSW reviews:
Posted by dwhudson at March 16, 2006 1:08 PM
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