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The film "Birds" follows Austin teens in the summertime. (Birds)
The wait is nearly over for SXSW’s Film Festival, which runs from March 11-20.
Filmmakers from all around the globe are coming to showcase their work and celebrate the film hub that the city is coming to be. There are numerous locals showcasing their films, so if you’re looking to see our state on the big screen, don’t forget to check out the Texas Shorts Program and Texas High School Shorts Program.
And without further ado, here are some SXSW 2022 films, from near and far, that we’ll be in the audience for.
Apollo 10 ½: A Space Age Childhood | March 13, 8:00—9:30 p.m. at Paramount Theatre
Telling the story of the first moon landing in the summer of 1969, "Apollo 10 ½" explores the space age from two different perspectives: the astronaut and mission control vs. a young boy in Houston watching history take place. Directed by local filmmaker Richard Linklater, the mind behind “Dazed and Confused” and “Boyhood,” the animated feature film has a star-studded cast with Jack Black, Zachary Levi and Glen Powell. Linklater also tapped local artist Angry Cloud to do some of the animation.
The film will show again on March 19, 12:00—1:30 p.m. at Satellite Venue: AFS Cinema.
Birds | March 11, 8:00—9:48 p.m. during Texas Shorts Program at SXSW Film Theater
Brought to the screen by young filmmaker Katherine Propper, "Birds" captures moments in the lives of Austin teenagers as they escape the notorious summer heat. The 13-minute narrative short premiered last year at the New Orleans Film Festival, where it won the Student Pitch Competition.
"Birds" is also showing on March 15, 3:15—5:03 p.m. at the Rollins Theatre at The Long Center and online from March 12-21 from 9-10:48 a.m.
Brené Brown: Atlas of the Heart | March 11, 5:00—5:40 p.m. at SXSW Film Theater
Kicking off the fest, author and podcaster Brené Brown is coming to SXSW with her new HBO Max series that goes through emotions and experiences in pursuit of defining what it means to be human. With storytelling, pop culture references and researchers collaborating, Brown covers a range of emotions while laying the framework for meaningful connection.
The episode will also be available online from March 12-14, 9-9:40 a.m.
Dio Dreamers Never Die | March 17, 4—5:53 p.m.
Defying the typical rock-n-roll lifestyle of sex, drugs and partying, "Dio Dreamers Never Die" follows the ascent of heavy metal rocker Ronnie James Die. From his days as a “doo-wop crooner” in the ‘50s to playing in Ritchie Blackmore's Rainbow to replacing Ozzy Osbourne’s vocals in Black Sabbath, this film is about perseverance and achieving your dreams.
This film will also be available online from March 18-20, 9—10:53 a.m. and requires an RSVP.
Gone | March 12, 2:45—4:15 p.m. at the Rollins Theatre at The Long Center
Development in Pflugerville, a suburb just north of Austin, is skyrocketing along with growth and as it inches closer and closer to farmland, local farmers are worried about their way of life. Directed by San Antonio-based Kyle Ward, this four-minute short looks at the sadness farmers feel when looking at their fields because once the land is built on, it is gone.
"Gone" is also showing on March 19, 12—1:30 p.m. during the Texas High School Shorts Program at Alamo Lamar A and online from March 13-21, from 9—10:30 a.m.
How We Found Our Sound | March 11, 8—9:48 p.m. during the Texas Shorts Program at SXSW Film Theater
After being rejected by Nashville’s music scene, cosmic cowboy Willie Nelson invited the band members of Asleep at the Wheel to move to Austin. Upon arrival in 1973, the Western swing band grew into an outlaw country sound. In 11 minutes, lead singer Ray Benson describes how the counterculture East coast natives helped break down the boundaries “between rednecks and hippies.”
"How We Found Our Sound" is also showing on March 15, 3:15—5:03 p.m. and online from March 12-21 from 9:00—10:48 a.m.
The Lost City | March 12, 6:30—8:30 p.m. at Paramount Theatre
With possibly the most A-list cast, “The Lost City,” follows romance-adventure novelist Loretta, played by Sandra Bullock, and her cover model muse Alan, played by Channing Tatum, who comes to life as “Dash” in her books. After Loretta is kidnapped by a billionaire, played by Daniel Radcliffe, Alan sets off to rescue her in a real-life jungle adventure to find an ancient treasure.
TikTok, Boom. | March 14, 12—1:40 p.m. at SXSW Film Theater
Looking at how TikTok has become one of the most influential platforms of the contemporary social media landscape, “TikTok, Boom.” examines all facets from algorithmic, socio-political, culture and economic impacts that have ensued. With a cast of Gen Z subjects, director Shalini Kantayya explores security issues, platform mechanics, racial biases and what it means to be a digital native
"TikTok, Boom." is also showing on March 15, 6:15—7:55 p.m. at Alamo Lamar D; March 19, 2:30—4:10 p.m. at Alamo Lamar A and online from March 15-17 at 9—10:40 a.m.
To Leslie | March 12, 8:30—10:29 p.m. at Stateside Theatre
"To Leslie" follows the story of Leslie, a single West Texas mother struggling to provide for her son, who wins the lottery and the chance of a lifetime. After drinking her money away over the course of a few years, Leslie returns home to confront the decisions she made, the pain she left and get a second chance with her son. Directed by Michael Morris, the feature-length film stars Andrea Riseborough, Allison Janney and Marc Maron.
"To Leslie" is also showing on March 15, 12:45—2:44 p.m. at Alamo Lamar E, March 18 9:45—11:44 p.m. at Alamo Lamar A, and online from March 13-15 from 9:00—10:59 a.m.
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Historic preservationists, for their part, overwhelmingly support historic zoning, which would preserve the buildings in perpetuity. The Historic Landmark Commission unanimously voted to initiate historic zoning in July, citing architectural significance, landscape features and association to historic figures. City staffers recommend historic zoning, calling both structures one-of-a-kind examples of vernacular architecture.
Tarrytown neighbors have also banded together to stop the demolition. Many have written letters, and a few spoke at the meeting. “How could anyone buy this property with the intent of destroying it?” Ila Falvey said. “I think it’s an architectural treasure.”
Michael Whellan, an attorney representing the property owner, said that the claims made by preservationists are shaky. The buildings are run down, he said, and have had substantial renovations. A structural engineer hired by the owner said any attempt at preservation would involve tearing down and rebuilding – an undertaking Whellan said would likely cost millions.
Whellan also argued that any historical significance derived from the property’s association with Delisle and longtime owner C.H. Slator is dubious. “These men are not noted for any civic, philanthropic or historic impact,” he said.
What’s more, according to Whellan, Slator likely participated in segregation as the owner of the Tavern on North Lamar Boulevard between 1953 and 1960.
A city staffer, however, said she found no evidence to support the claim. “We would never landmark a property where a segregationist lived, or there was a racist person,” Kimberly Collins with the Historic Preservation Office said.
Commissioner Awais Azhar couldn’t support historic zoning in part due to lingering uncertainty about Slator. “Focusing on that factor is not here to disparage an individual or family. It is not about playing the race card. This is an important assertion for us to consider as Planning commissioners,” Azhar said.
Commissioner Carmen Llanes Pulido said that allegations of racism should come as no surprise. “We’re talking about white male property owners in the 1950s, in Austin, on the west side – and of course they were racist,” she said. But she argued that allowing the house to be demolished based on these grounds does nothing to help people of color who have been harmed by racism and segregation.
The question of tax breaks was also controversial. Michael Gaudini, representing the property owner, said that the tax breaks associated with historic zoning would exacerbate inequality by shifting property tax burdens to less affluent communities. City staffers estimate that the property, appraised at $3.5 million, would get either a $8,500 or $16,107 property tax break annually, depending on whether a homestead exemption is applied.
Commissioner Grayson Cox preferred the commission focus not on tax breaks but on whether the structures merit preservation. “To me, nothing in the historic preservation criteria lists, is this person deserving of a tax break or not?”
Azhar, on the other hand, said he plans to propose a code amendment getting rid of city property tax breaks for historic properties.
The commission fell one vote short of recommending historic zoning, with six commissioners in support and three opposed. Azhar and commissioners Claire Hempel and Greg Anderson voted against.
The odds of City Council zoning over an owner’s wishes are slim. Nine out of 11 members must vote in favor, and there have only been a handful of such cases over the past several decades.
