Where the Wind Bloweth

A Review of Galveston (SXSW 2018)

by Philip J. Hohle, Ph.D.

Photo of two people on beachSet against the backdrop of a city known for its hurricanes, Galveston is the place of refuge for an unlikely couple on the run from the mob. Working as a hitman, Roy is set up by his corrupt boss in New Orleans. In escaping the sting, he also rescues a prostitute by the name of Rocky. Reluctantly bringing her along, Roy chooses Galveston as their destination—a place where they can lay low. Along the escape route, they rescue her little sister Tiffany from the girl’s abusive step-dad.

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Ripped Pages

Review of Damsel (SXSW 2018)

by Philip J. Hohle, Ph.D.

It is quite fascinating to watch the trajectory of the Zellner Brothers, David and Nathan, as they have continued to fine-tune their unique style in filmmaking. One may wonder if they got into directing and producing because they wanted to act, or they act because it makes producing and directing that much more efficient. Like the Coen brothers, it is unclear whose creativity is the driving force or if they share all the creative decisions that go into a film. In any case, the sibling team has risen to be among the kings of independent cinema, and it is appropriate to mention them in the same breath as the Duplass brothers (in my eyes, a huge compliment).

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The Deepening Spiral

 

Review of Age Out

by Philip J. Hohle, Ph.D.

At the world premiere of Age Out (originally titled Friday’s Child )at SXSW 2018, I became somewhat annoyed with the question and answer session that followed the screening. As typical at these festivals, fans often stick with safe questions about technique rather than dive into deeper issues raised by the story. Instead of exploring the meanings behind the film, those asking questions that night seemed more interested in talking about aspect ratios and camera lenses. For this viewer, the film triggered some dark memories, and as such, the movie was unusually visceral.

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Bringing the Junk

Review of All Square (SXSW 2018)

by Philip J. Hohle, Ph.D.

Anyone from an older generation may recall a more innocent tone to kid’s sports than is found today. It is quite common, and should I say natural, for a parent to live vicariously through their children. Whether the parent was once good at sports or not, the child’s accomplishments are often taken as a commentary on the quality of all the parental genes that authored them. Secondly, it is an unstated obligation parents have to support their child. In some cases, we parents are not so good at recognizing proper boundaries to that support. Might that support include a public and vicious verbal undressing of “blue” even when the umpire is a kid? Does involvement include a boisterous pushing match with a parent from the other team?

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Rescued Creatures

Review of Boundaries (SXSW 2018)

by Philip J. Hohle, Ph.D.

A great name for this narrative feature, but perhaps the film could have just as accurately been titled No Boundaries. Laura (Vera Farmiga) is a divorced mother who is forced to drive her 85-year-old dad (Christopher Plummer) across the country so he can live with her sister. This duty is a major disruption since Jack has been kicked out of the nursing home for selling drugs. Along for the ride are a number of rescued pets—their loyalty and cuteness serve as a counterpoint to the flawed human characters.

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A Chance to Make it Good Somehow

Review of Thunder Road

by Philip J. Hohle, Ph.D.

A surprise hit at SXSW 2018; this film was expanded from the notable 2016 short created and performed by actor/director Jim Cummings. The short was a one-man show—13 minutes of monologue in one take. His character is Jimmy, a decorated police officer who is socially awkward (perhaps an understatement). Among festival viewers, there was speculation that the bizarre-but-poignant character’s rant at his mother’s funeral may not translate well into a feature-length story.

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Whatever Happened to Romance?

Review of The New Romantic

by Philip J. Hohle, Ph.D.

In a postmodern society enjoying the benefits of the sexual revolution, the roles played by a man and woman in a relationship is under intense scrutiny. Looking back, people in our culture tend to scoff at the stereotypical 1950s American wife who looked good in her dress and pearls as she made her man his favorite dinner. This couple is now replaced with the egalitarian version, with the male abandoning the hubris of the stereotypical husband who once disdained what was considered women’s work. Now the male can, and is expected to, do everything the housewife once did while the woman can do anything she wants to try. Meanwhile, no one takes the role romancer. The lover-beloved relationship begins as a one-sided pursuit—the lover is motivated to give by only the hope that the beloved will return the love.

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Cinema and Religion Continues for Fifth Season

Fifth Season of Cinema & Religion Informal Class for the Community Begins January 22, 2018
Free series returns to The Moviehouse & Eatery on Monday Nights at 6:30 PM

Hymnboard with dates

Austin, Texas—For the fifth consecutive season, Concordia University Texas (CTX) will offer the informal course Cinema and Religion to the community on Monday nights beginning January 22, 2018. The class is held each week at 6:30 p.m. at The Moviehouse and Eatery in The Trails at 620 Shopping Center across from the University. Continue reading Cinema and Religion Continues for Fifth Season

FAQ About ESL Classes on Film

FAQs

Q: What does ESL stand for?

A: You may see a church from time to time offering a class in conversational English for immigrants-helping them make sense of a world in which an unfamiliar tongue is spoken. Essentially, these series are classes to help improve the media literacy and fluency of people. There are currently two different series, Lenses (fall) and Cinema & Religion (spring).

Q: How does the informal class differ from a traditional college class?

A: In essence, this 8-week class does much more than just study film aesthetics. More importantly, participants will fully examine both their personal and societal responses to the messages found in popular movies. As such, Parabolic Media has made arrangments with (place TBA) to use the theater as a suitable classroom. This enables us to examine films in their most natural and powerful state. Unlike a movie you attend for entertainment purposes, we include a lively discussion afterward that helps us all understand the experience we have shared.

Q: Do I have assignments if I attend the Informal Class?

A: No. We only suggest that you become familiar with the course material offered (the books) for your own sake. In our discussion, you can add your voice to the mix or just quietly enjoy the discussion. All opinions are welcome.

Q: Do I get academic credit?

A: The class is for your own edification. However, those who attend at least seven screenings will be eligible to receive a certificate of completion upon request.

Q: Why are you examining R-rated films?

A: Our approach is not to ask if we should show films like these, but ask if these more difficult scenes and themes somehow make the film exempt from critical examination. We find that many R-rated films are in need of close, scholarly analysis. However, if you normally avoid such films, you can simply skip the screening that week.

Q: How do I register?

A: Fill out the form found (TBA). An invoice will be sent.

Q: May I bring someone with me?

A: For both series, we highly encourage everyone to bring guests, but all participants must register.

Q: Can I order food and drinks as I normally do when watching a film?

A: Of course! But we do not pick up the tab for refreshments. Don’t forget to tip your server.

Q: What if the weather is bad?

A: Check your email. We will send announcements to the email address you used in your registration if the event is postponed or canceled. You are welcome to email Philip Hohle with questions anytime.