Arthouse, indie, foreign, avant garde,
repertory & classics.
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The films worth building your week around. Archival prints that screen once, restorations decades in the making, live scores, legendary directors in attendance, world premieres, films you can’t stream anywhere…
Banned in several countries, heavily edited and rated X, it’s been nearly impossible to see since its release in 1971. If you are still capable of being shocked, this may do it for you. The 35mm run is over, and the restoration keeps getting held over: AFS has it every day this week and into next, South Lamar most nights, Regal Westgate through Thursday, and Mueller and Village pick it up Friday through Monday. Last rites postponed.
Sofia Coppola created something groundbreaking 20 years ago and we just weren’t ready for it. Light on historical context, but leaning into the teen angst, it was booed at Cannes. A post-punk soundtrack, Converse, and modern language — the anachronisms are the point. It opened AFS’s third screen, the new John H. McCall Theater, last Saturday, and plays there again Wed at 7:15 and Fri at 5:15; the Alamos run the anniversary re-release through Thursday.
One stalled horror movie, a second one shot around it, and the seams are the fun. The backer hired a third director to film new scenes and splice them into Brendan Faulkner and Thomas Doran’s unfinished picture, so a carload of travelers ends up in a sorcerer’s mansion full of monsters from two different movies. Vinegar Syndrome presents, with a pop-up shop and prizes for the best costume. Doors at 6:30. Mind the seams.
As the New Hollywood movement of the ’70s was taking shape and American auteurs were moving away from the studio system, Bogdanovich used his fourth film to revitalize the language of early American film with this Depression-era road movie. A remarkably dark children’s movie, it stars nine-year-old Tatum O’Neal alongside her real father. She’s still the youngest competitive Oscar winner ever. Frank Marshall was an associate producer on it and he’s at the State for the Austin Film Festival’s On the Road series.
Brad Bird had this film in his back pocket for decades, as he was making his name with nostalgia pieces The Iron Giant and The Incredibles. This retro-futuristic tale involves a private eye played by Sam Rockwell, set in Metropia, a future built from the 1930s. Visually sumptuous, and as Drew Taylor of TheWrap put it, “perhaps the only film to be openly influenced by both Chinatown and Flash Gordon.” Texas premiere at the Austin Film Festival.
Michael Arndt’s first produced screenplay turns twenty, and he’s in the room to talk about it. Greg Kinnear, Toni Collette, Steve Carell and Alan Arkin push a yellow VW bus with a dead clutch toward a children’s pageant in Redondo Beach, with Abigail Breslin’s Olive the reason they keep pushing. One Sunday matinee at the State, for the Austin Film Festival’s On the Road series; $20 advance. Everybody pushes.
Hot TicketWed Nov 4, 8:00 · AFSF.W. Murnau’s Faust turns a hundred, and The Invincible Czars are playing it a new score, live. Emil Jannings is Mephisto, in the last film Murnau made in Germany before Hollywood and Sunrise. The score runs from classical to bossa nova to a touch of heavy metal, on flute, violin and electric guitar. One night, $22, $19 for members. The devil gets a solo.
Buy TicketsMaggie Cheung plays Ruan Lingyu, the silent star they called the Greta Garbo of China, and Stanley Kwan keeps cutting away to the real one. His 1991 film folds Ruan’s surviving footage and documentary interviews into the drama, in a new 4K restoration for its thirty-fifth anniversary. Thu Nov 5 late and Sat Nov 7 matinee. Two Ruans, one screen.
The giallo the others get measured against, and the first time Goblin scored a film. Dario Argento puts David Hemmings, nine years after Blow-Up, back in the witness’s chair as a jazz pianist who sees a murder through a window, with Daria Nicolodi as the reporter who helps. Girl, Whatever presents; doors at 6:30, $5. Mind the dolls.
The debut that turned American indie film into a business, and it’s about a man with a video camera. Steven Soderbergh shot it in Baton Rouge: James Spader tapes women talking about sex, Andie MacDowell is married to the lawyer sleeping with her sister. Miramax released it, and the ’90s followed. Be kind, rewind.
Thirty-four bands in one concert film, and it has rarely played a big screen anywhere near complete. Derek Burbidge’s 1981 film has The Police, Devo, X, the Cramps, Dead Kennedys and Klaus Nomi. John Doe of X joins the Professors of Urgh!, who have made fifty-five podcast episodes about it. $20, $17 for members. Bring earplugs.
Salman Rushdie’s wife filmed the weeks after the attack, and she’s coming to take questions. Alex Gibney’s documentary is built on Rachel Eliza Griffiths’s footage and Rushdie’s memoir Knife, co-presented by Torch Literary Arts, with a pop-up bookshop in the lobby, and the Texas Book Festival. One night. Bring a book.
Joe Bob Briggs is auditioning forgotten exploitation films for his 2027 show, and the room gets a say. Two different secret double features, Saturday night and Sunday afternoon, with Joe Bob and Darcy the Mail Girl in person. $35, $30 for members. Drive-in rules apply.
Oct 29–Nov 5 · Five venues · 33rd edition
The writers’ festival. More than 150 films over eight days, and a four-day conference where the screenplay gets top billing.
Mar 12–18
Jun 24–28
Aug · annual
May 13–17Indie Meme (South Asian independent), OUTsider (queer film & performance, February), Austin Revolution (true independents, January), Cinema Touching Disability (September), Ethereal Horror Fest (indie genre, October), ATX TV Festival (television, May), Fantastic Fest (genre, September).
Look, sometimes you just want the big loud one. No judgment — we those too… it just ain’t our raison d’être. Here’s everything playing in the megaplexes, with a few gems singled out.
These are the ones with a pulse — films from visionary directors with artistic merit, challenging viewpoints and impeccable craft.
This week’s strongest signal
Ninety-one reviews in and not one of them negative, a first for Laika, the studio behind Coraline and Kubo. Travis Knight directs Colin Meloy’s novel (yes, the Decemberists’ Colin Meloy) in stop-motion: nearly 250 puppets, Caleb Deschanel behind the camera, Tom Waits in the voice cast. A few critics warn it gets dark for small kids. So did Coraline.
Olivia Colman orders a husband made of wicker, and Alexander Skarsgård shows up. Alex Huston Fischer and Eleanor Wilson turn Ursula Wills-Jones’s short story into a bawdy fable about a shunned fisherwoman, with Peter Dinklage as the basket weaver who makes him. Ninety-three percent on Rotten Tomatoes; TheWrap is the holdout, and calls it wooden. Well, yes.
Critics give it seventy-five percent. Early audiences give it ninety-four. James Watkins, who made Eden Lake and the American Speak No Evil, takes the Batman villain into body horror, with Tom Rhys Harries in the title role and Naomi Ackie opposite. The gore gets the raves; the writing and editing take the hits. One review reaches for The Substance. Skip the snacks.
Taika Waititi plays Kazuo Ishiguro for laughs, and most critics wish he hadn’t. Jenna Ortega is Klara, the solar-powered Artificial Friend, with Amy Adams and Natasha Lyonne. Twenty-three percent on Rotten Tomatoes; the Guardian finds it mannered, and Screen International is the notable holdout, praising the performances and the visuals. Go settle it.
Thirty-four days before Elizabeth Holmes reported to prison, Nathan Fielder moved into her house with a camera. He and Lance Oppenheim kept it secret for three years, until a surprise slot at Telluride. Two hours fifty-four minutes, at eleven theaters across town, and the weekend shows are selling out again. Clear the evening.
Clayface, Wicker, Klara and the Sun, Wildwood, Udta Teer, 418.
Street Fighter, You Can See Everything, Sense and Sensibility, Whalefall, Musk, Jailer 2.
Other Mommy, The Social Reckoning, Your Mother Your Mother Your Mother, Digger, Verity.
Oct 30The Only Living Pickpocket in New York, The Mongoose, Christmas at the Kringles. Nov 6The Cat in the Hat, Wild Horse Nine, Godzilla Minus Zero. Nov 13Ebenezer, How to Rob a Bank. Nov 20The Hunger Games: Sunrise on the Reaping, I Play Rocky.
Austin has plenty of options for IMAX screens, but not all are created equal. For immersive cinematic experiences like The Odyssey, which was shot entirely in the IMAX format, there’s only one primo experience, and the rest of them aren’t even close.
Dual laser · 1.43:1 · six storeys · 12-channel
One of a handful of dual-laser installations in the world, and the only screen in Austin that can project 1.43:1 — the tall, almost square frame an IMAX camera actually records. Purpose-built room, soundproofed, speakers placed for the space rather than fitted into it. Bullock plays a mix of major Hollywood blockbusters, educational nature documentaries, and special cinematic events.
9700 Stonelake Blvd · 16 screens
A certified IMAX auditorium inside a multiplex, almost certainly 1.90:1 like every commercial retrofit — about a quarter of the frame height gone on anything shot for IMAX. Also the only 4DX in town.
Mall multiplex · south-west
Same story — certified, retrofitted, 1.90:1. Bigger and louder than the screen next door, which is the whole pitch.
3200 Kyle Crossing · IMAX with Laser
Laser projection, which is the good version of a commercial IMAX — brighter, deeper contrast, wider color than the xenon rigs it replaced. Still 1.90:1, so still cropped, but the best picture of the three commercial screens. Attached to bowling lanes, an arcade and a bar, which is either the appeal or the problem depending on your evening.
180 Alliance Blvd · eight screens · IMAX with Laser
The first IMAX in Williamson County, opened 2025. Same laser spec as Kyle, same 1.90:1 frame, twelve bowling lanes next door. Worth knowing if you are north of the river — a shorter run than crossing town to Barton Creek.
Membership provides essential philanthropic support for the AFS Cinema and its educational and artistic programs. Yearly memberships start at $65 and carry a lot of perks, including $4 off every ticket.
The deepest film slate in town and an absolute shrine to cinema. Richard Linklater, Austin’s patron saint of indie film, founded the Austin Film Society in 1985 to screen the independent, experimental and foreign films Austin couldn’t otherwise see; three decades later AFS opened a physical location with two screens. It’s the city’s only nonprofit arthouse: one screen runs new international and independent releases, the other is given over entirely to repertory — restorations, director retrospectives and series. A third screen is coming soon!
NAZAFrom a co-director of No Other Land. Yuval Abraham and Rachel Szor filmed from Tel Aviv rooftops at night, building the case on 24 whistleblowers. The title is the army’s own acronym for civilian casualties
Making Marie AntoinetteEleanor Coppola shot the chaos of Apocalypse Now for Hearts of Darkness; here she watches her daughter, at 34, direct at Versailles. Her behind-the-scenes film of Sofia making Marie Antoinette, which plays in 4K at 7:15. Once more Thu Oct 29. The family business
The History of ConcreteIf you’ve seen How to with John Wilson, you know a documentary about concrete won’t stay about concrete. His feature debut pitches it as a Hallmark movie, and the pitch meetings spiral into Kim Kardashian, DMX and a cult leader’s endurance race
Kung Fu HustleRoger Ebert called it Jackie Chan and Buster Keaton meeting Quentin Tarantino and Bugs Bunny. Stephen Chow’s 2004 comedy sets a slum full of retired masters against the Axe Gang, for World Cinema Classics, the last of its three shows. Never cross the landlady
Marie AntoinetteBack after the grand-opening weekend, and once more Fri at 5:15. Sofia Coppola’s 2006 film in a new 4K restoration, with Kirsten Dunst at Versailles and New Order on the soundtrack; Eleanor Coppola’s making-of plays at 4:30. Four Alamos have the anniversary re-release today. Spot the Converse
The DevilsThe new restoration’s second week. Ken Russell, 1971: Oliver Reed as the priest, Vanessa Redgrave as the nun, sets by Derek Jarman. One show today; South Lamar has two digital matinees. Held over: daily through Wed Nov 4
Wild StyleBefore hip-hop had a movie, it had this one. Charlie Ahearn’s 1983 portrait of the South Bronx, with Lee Quiñones, Fab 5 Freddy and Grandmaster Flash playing themselves, for Big Screen Classics. A late show; again Sun Nov 1 and Tue Nov 3. Bring your own cardboard
Making Marie AntoinetteEleanor Coppola shot the chaos of Apocalypse Now for Hearts of Darkness; here she watches her daughter, at 34, direct at Versailles. Her behind-the-scenes film of Sofia making Marie Antoinette, the last show of its AFS run; Village and Mueller have it this evening. The family business
Deep in the Heart 2: Texas RiversBen Masters’s sequel follows the state’s springs, rivers and bays, with Ethan Hawke narrating. Otters, turkeys and alligator snapping turtles
The Color of MoneyScorsese’s only sequel, in a new 4K restoration for the McCall Theater’s grand opening. Paul Newman is back as Fast Eddie Felson twenty-five years after The Hustler, with Tom Cruise as the hotshot he takes on the road; Michael Ballhaus shot it, Thelma Schoonmaker cut it. Again Sat and Sun. Nine-ball this time
The DevilsThe new restoration’s second week ends, and it’s held over again. Ken Russell, 1971: Oliver Reed as the priest, Vanessa Redgrave as the nun, sets by Derek Jarman. One show; daily through Wed Nov 4. Last rites postponed
NAZAFrom a co-director of No Other Land. Yuval Abraham and Rachel Szor filmed from Tel Aviv rooftops at night, building the case on 24 whistleblowers. The title is the army’s own acronym for civilian casualties
Deep in the Heart 2: Texas RiversBen Masters’s sequel follows the state’s springs, rivers and bays, with Ethan Hawke narrating. Otters, turkeys and alligator snapping turtles
The History of ConcreteIf you’ve seen How to with John Wilson, you know a documentary about concrete won’t stay about concrete. His feature debut pitches it as a Hallmark movie, and the pitch meetings spiral into Kim Kardashian, DMX and a cult leader’s endurance race
Marie AntoinetteThe last of the 4K restoration’s shows after the grand opening. Sofia Coppola’s 2006 film, with Kirsten Dunst at Versailles and New Order on the soundtrack. Spot the Converse
Wild at HeartDavid Lynch’s road movie, newly restored, and booked through Thu Nov 5. Nicolas Cage and Laura Dern run for Big Tuna, Texas, with Diane Ladd, Dern’s real mother, as the mother who wants him dead, and Willem Dafoe as Bobby Peru. Three shows Saturday, then Sun and Mon; Lakeline has it today too. Mind the snakeskin
The DevilsHeld over into a third week. Ken Russell, 1971: Oliver Reed as the priest, Vanessa Redgrave as the nun, sets by Derek Jarman. One show; Mueller has a digital one at 7:00, South Lamar at 10:00. Daily through Wed Nov 4
BegottenNo dialogue, no color, and a god who kills himself in the first scene. E. Elias Merhige’s 1989 debut, which Premiere called a metaphysical splatter film: Mother Earth rises and leads her son through what comes after. AFS Lates; again on Halloween, Mon Nov 2 and Wed Nov 4. Leave a light on
Deep in the Heart 2: Texas RiversBen Masters’s sequel follows the state’s springs, rivers and bays, with Ethan Hawke narrating. Otters, turkeys and alligator snapping turtles
Wild at HeartDavid Lynch’s road movie, newly restored, and booked through Thu Nov 5. Nicolas Cage and Laura Dern run for Big Tuna, Texas, with Diane Ladd, Dern’s real mother, as the mother who wants him dead, and Willem Dafoe as Bobby Peru. Again Sun Nov 1 and Mon Nov 2; Lakeline has it today too. Mind the snakeskin
The DevilsHeld over into a third week, with a matinee for Halloween. Ken Russell, 1971: Oliver Reed as the priest, Vanessa Redgrave as the nun, sets by Derek Jarman. Two shows. Daily through Wed Nov 4
The History of ConcreteIf you’ve seen How to with John Wilson, you know a documentary about concrete won’t stay about concrete. His feature debut pitches it as a Hallmark movie, and the pitch meetings spiral into Kim Kardashian, DMX and a cult leader’s endurance race
The Snake Girl and the Silver-Haired WitchThe director of Gamera takes on a Kazuo Umezu manga. Noriaki Yuasa’s film sends a girl home from boarding school to a father lost in his experiments and a sister who may be a ghost. Roots of J-Horror, digital; the second of its two shows. Mind the scales
The Color of MoneyScorsese’s only sequel, in a new 4K restoration for the McCall Theater’s grand opening. Paul Newman is back as Fast Eddie Felson twenty-five years after The Hustler, with Tom Cruise as the hotshot he takes on the road; Michael Ballhaus shot it, Thelma Schoonmaker cut it. Again Sun. Nine-ball this time
CarrieStephen King’s first novel, and the first film anyone made from his work. Brian De Palma’s 1976 version, with Sissy Spacek as Carrie, Piper Laurie as her mother, and a prom in split screen. Big Screen Classics on Halloween night; again Mon Nov 2. Skip the prom
BegottenNo dialogue, no color, and a god who kills himself in the first scene. E. Elias Merhige’s 1989 debut, which Premiere called a metaphysical splatter film: Mother Earth rises and leads her son through what comes after. AFS Lates on Halloween night; again Mon Nov 2 and Wed Nov 4. Leave a light on
Deep in the Heart 2: Texas RiversBen Masters’s sequel follows the state’s springs, rivers and bays, with Ethan Hawke narrating. Otters, turkeys and alligator snapping turtles
The History of ConcreteIf you’ve seen How to with John Wilson, you know a documentary about concrete won’t stay about concrete. His feature debut pitches it as a Hallmark movie, and the pitch meetings spiral into Kim Kardashian, DMX and a cult leader’s endurance race
Wild StyleBefore hip-hop had a movie, it had this one. Charlie Ahearn’s 1983 portrait of the South Bronx, with Lee Quiñones, Fab 5 Freddy and Grandmaster Flash playing themselves, for Big Screen Classics. A Sunday matinee; once more Tue Nov 3. Bring your own cardboard
The Color of MoneyScorsese’s only sequel, in a new 4K restoration for the McCall Theater’s grand opening. Paul Newman is back as Fast Eddie Felson twenty-five years after The Hustler, with Tom Cruise as the hotshot he takes on the road; Michael Ballhaus shot it, Thelma Schoonmaker cut it. The last show for now. Nine-ball this time
Wild at HeartDavid Lynch’s road movie, newly restored, and booked through Thu Nov 5. Nicolas Cage and Laura Dern run for Big Tuna, Texas, with Diane Ladd, Dern’s real mother, as the mother who wants him dead, and Willem Dafoe as Bobby Peru. Again Mon at 6:30; three Alamos and Regal Gateway have it today too. Mind the snakeskin
The DevilsHeld over into a third week. Ken Russell, 1971: Oliver Reed as the priest, Vanessa Redgrave as the nun, sets by Derek Jarman. One show; Village and Mueller have it digital today. Daily through Wed Nov 4
The History of ConcreteIf you’ve seen How to with John Wilson, you know a documentary about concrete won’t stay about concrete. His feature debut pitches it as a Hallmark movie, and the pitch meetings spiral into Kim Kardashian, DMX and a cult leader’s endurance race
NAZAFrom a co-director of No Other Land. Yuval Abraham and Rachel Szor filmed from Tel Aviv rooftops at night, building the case on 24 whistleblowers. The title is the army’s own acronym for civilian casualties
The DevilsHeld over into a third week. Ken Russell, 1971: Oliver Reed as the priest, Vanessa Redgrave as the nun, sets by Derek Jarman. One show; Village and Mueller have it digital tonight. Daily through Wed Nov 4
Wild at HeartDavid Lynch’s road movie, newly restored, and booked through Thu Nov 5. Nicolas Cage and Laura Dern run for Big Tuna, Texas, with Diane Ladd, Dern’s real mother, as the mother who wants him dead, and Willem Dafoe as Bobby Peru. Four Alamos have it today too. Mind the snakeskin
CarrieStephen King’s first novel, and the first film anyone made from his work. Brian De Palma’s 1976 version, with Sissy Spacek as Carrie, Piper Laurie as her mother, and a prom in split screen. Big Screen Classics, the second of two shows. Skip the prom
BegottenNo dialogue, no color, and a god who kills himself in the first scene. E. Elias Merhige’s 1989 debut, which Premiere called a metaphysical splatter film: Mother Earth rises and leads her son through what comes after. AFS Lates, early tonight; once more Wed Nov 4. Leave a light on
Wild StyleBefore hip-hop had a movie, it had this one. Charlie Ahearn’s 1983 portrait of the South Bronx, with Lee Quiñones, Fab 5 Freddy and Grandmaster Flash playing themselves, for Big Screen Classics. The last of its three shows. Bring your own cardboard
The DevilsHeld over into a third week. Ken Russell, 1971: Oliver Reed as the priest, Vanessa Redgrave as the nun, sets by Derek Jarman. One show; South Lamar has it digital tonight. Daily through Wed Nov 4
The History of ConcreteIf you’ve seen How to with John Wilson, you know a documentary about concrete won’t stay about concrete. His feature debut pitches it as a Hallmark movie, and the pitch meetings spiral into Kim Kardashian, DMX and a cult leader’s endurance race
The Good, the Bad and the UglySixty years old in December, and still the western the others get measured against. Sergio Leone’s 1966 film: Clint Eastwood, Lee Van Cleef and Eli Wallach, a UT graduate, racing each other to a grave full of Confederate gold, with Ennio Morricone on the soundtrack. Nearly three hours, for World Cinema Classics; again Fri Nov 6 and Sun Nov 8. Bring a shovel
Wild at HeartDavid Lynch’s road movie, newly restored, and booked through Thu Nov 5. Nicolas Cage and Laura Dern run for Big Tuna, Texas, with Diane Ladd, Dern’s real mother, as the mother who wants him dead, and Willem Dafoe as Bobby Peru. Slaughter Lane has it at 7:00 too. Mind the snakeskin
Alamo offers a subscription at two levels, starting at $19.99 a month, which gets you one ticket a day plus other perks. An incredible deal if you go anything like regularly.
Homegrown icon: Austin’s gift to moviegoing. Tim and Karrie League opened the first Alamo in a Colorado Street parking garage in 1997 and rewrote what a cinema could be — food and drink at your seat, a no-talking policy that is actually enforced, and programming run by true cinephiles. The model spread nationwide, but it started here.
Five Austin locations now, and South Lamar remains the programming house.
Home to Terror Tuesday, Weird Wednesday, Master Pancake, 70mm, Video Vortex and Fantastic Fest.
Note: we’re only listing special events and repertory screenings, but Alamo carries a full slate of wide releases too. Full schedule here.
The DevilsTwo matinees, half an hour apart, and nothing after dark. Ken Russell’s 1971 film, digital since the 35mm finished: Oliver Reed, Vanessa Redgrave, Derek Jarman’s sets. AFS has the new restoration at 7:45
Making Marie AntoinetteEleanor Coppola shot the chaos of Apocalypse Now for Hearts of Darkness; here she watches her daughter, at 34, direct at Versailles. Her behind-the-scenes film of Sofia making Marie Antoinette, one evening show; Mueller and Slaughter Lane run the feature at the same hour. The family business
Devil StoryWeird Wednesday. A Nazi mutant, a mummy and a possessed horse, all in one French film. Bernard Launois’s 1986 picture strands a young couple in the countryside after their car breaks down. Mind the horse
Marie AntoinetteThe twentieth-anniversary re-release moves to the evening at Mueller, Lakeline and Slaughter Lane, after one more matinee at Village. Sofia Coppola’s 2006 film, with Kirsten Dunst as the teenage queen and New Order on the soundtrack; AFS has its 4K restoration at 7:15. Let them eat cake
Marie AntoinetteThe twentieth-anniversary re-release moves to the evening at Mueller, Lakeline and Slaughter Lane, after one more matinee at Village. Sofia Coppola’s 2006 film, with Kirsten Dunst as the teenage queen and New Order on the soundtrack; AFS has its 4K restoration at 7:15. Let them eat cake
Daughters of DarknessA vampire film in which the vampire is Delphine Seyrig, from Last Year at Marienbad. Harry Kümel’s 1971 Belgian picture: newlyweds at an off-season Ostend hotel meet Countess Báthory and her secretary. A late show at Mueller, two nights after Monday’s run at four Alamos. Check out early
Marie AntoinetteThe twentieth-anniversary re-release moves to the evening at Mueller, Lakeline and Slaughter Lane, after one more matinee at Village. Sofia Coppola’s 2006 film, with Kirsten Dunst as the teenage queen and New Order on the soundtrack; AFS has its 4K restoration at 7:15. Let them eat cake
Marie AntoinetteThe twentieth-anniversary re-release moves to the evening at Mueller, Lakeline and Slaughter Lane, after one more matinee at Village. Sofia Coppola’s 2006 film, with Kirsten Dunst as the teenage queen and New Order on the soundtrack; AFS has its 4K restoration at 7:15. Let them eat cake
Godzilla vs. MegalonGodzilla gets a robot partner, Jet Jaguar, and a flying dropkick he launches off his own tail. Jun Fukuda’s 1973 Toho picture sends Megalon, a giant beetle, up from an undersea kingdom. One evening show. Stay for the tail slide
The DevilsBack for a late show, digital. Ken Russell’s 1971 film: Oliver Reed, Vanessa Redgrave, Derek Jarman’s sets. AFS has the new restoration at 8:00
Godzilla vs. MegalonGodzilla gets a robot partner, Jet Jaguar, and a flying dropkick he launches off his own tail. Jun Fukuda’s 1973 Toho picture sends Megalon, a giant beetle, up from an undersea kingdom. One morning show; South Lamar has it at 7:00. Stay for the tail slide
Making Marie AntoinetteEleanor Coppola shot the chaos of Apocalypse Now for Hearts of Darkness; here she watches her daughter, at 34, direct at Versailles. Her behind-the-scenes film of Sofia making Marie Antoinette, one early-evening show; AFS has its last show at 3:30. The family business
Daughters of DarknessA vampire film in which the vampire is Delphine Seyrig, from Last Year at Marienbad. Harry Kümel’s 1971 Belgian picture: newlyweds at an off-season Ostend hotel meet Countess Báthory and her secretary. Two more shows at Mueller, a matinee and a late one. Check out early
Making Marie AntoinetteEleanor Coppola shot the chaos of Apocalypse Now for Hearts of Darkness; here she watches her daughter, at 34, direct at Versailles. Her behind-the-scenes film of Sofia making Marie Antoinette, one early-evening show; AFS has its last show at 3:30. The family business
Godzilla vs. MegalonGodzilla gets a robot partner, Jet Jaguar, and a flying dropkick he launches off his own tail. Jun Fukuda’s 1973 Toho picture sends Megalon, a giant beetle, up from an undersea kingdom. A noon matinee and a late show; Village has it in the morning, South Lamar at 7:00. Stay for the tail slide
Daughters of DarknessA vampire film in which the vampire is Delphine Seyrig, from Last Year at Marienbad. Harry Kümel’s 1971 Belgian picture: newlyweds at an off-season Ostend hotel meet Countess Báthory and her secretary. A Lakeline matinee; Mueller has two more shows today. Check out early
Marie AntoinetteThe twentieth-anniversary re-release, one more evening at Lakeline and Slaughter Lane. Sofia Coppola’s 2006 film, with Kirsten Dunst as the teenage queen and New Order on the soundtrack. Let them eat cake
The Restoration at Grayson ManorChris Colfer loses his hands, and his mother builds him new ones with ideas of their own. Glenn McQuaid, who made I Sell the Dead, wrote it with Clay McLeod Chapman; Alice Krige plays the mother, in a crumbling Gothic estate. It played Fantastic Fest in 2025. One show. Hands off
Marie AntoinetteThe twentieth-anniversary re-release, one more evening at Lakeline and Slaughter Lane. Sofia Coppola’s 2006 film, with Kirsten Dunst as the teenage queen and New Order on the soundtrack. Let them eat cake
Trick or TreatOzzy Osbourne plays a TV preacher warning America about heavy metal. Charles Martin Smith, Toad in American Graffiti, made his directing debut on this 1986 film: a bullied metalhead plays his dead idol’s last record backward and gets Sammi Curr back, with Gene Simmons as the DJ. Forty years old this week; Slaughter Lane starts a day early. Don’t play it backward
HalloweenJohn Carpenter wrote the score himself, fast, and the theme is in 5/4. His 1978 film, with Donald Pleasence as Dr. Loomis and Jamie Lee Curtis in her first feature, babysitting in Haddonfield on Halloween night. A morning show, a day early; two more here on the night itself. Check the closet
Your Mother Your Mother Your MotherA Houston hitman picture from Bassam Tariq, who made Mogul Mowgli. Mahershala Ali plays a devout killer crossing the city to protect his children after his wife’s death, with John Cho and Giancarlo Esposito. One show with a Q&A; Alamo hasn’t named the guests. Stay seated
Trick or TreatOzzy Osbourne plays a TV preacher warning America about heavy metal. Charles Martin Smith, Toad in American Graffiti, made his directing debut on this 1986 film: a bullied metalhead plays his dead idol’s last record backward and gets Sammi Curr back, with Gene Simmons as the DJ. Forty years old this week; at all five Alamos today. Don’t play it backward
The DevilsA late show, digital. Ken Russell’s 1971 film: Oliver Reed, Vanessa Redgrave, Derek Jarman’s sets. Mueller has one at 7:00; AFS has the new restoration at 8:15
HalloweenJohn Carpenter wrote the score himself, fast, and the theme is in 5/4. His 1978 film, with Donald Pleasence as Dr. Loomis and Jamie Lee Curtis in her first feature, babysitting in Haddonfield on Halloween night. A day early at Village, which runs it again Saturday ahead of The Fog. Check the closet
Killer Klowns from Outer SpaceThe Chiodo Brothers built the creatures for Critters, then made a whole movie of their own. Stephen Chiodo’s 1988 film lands a circus tent outside a small town; the klowns cocoon people in cotton candy, and the Dickies play the theme. Nearly sold out. Don’t eat the popcorn
Trick or TreatOzzy Osbourne plays a TV preacher warning America about heavy metal. Charles Martin Smith, Toad in American Graffiti, made his directing debut on this 1986 film: a bullied metalhead plays his dead idol’s last record backward and gets Sammi Curr back, with Gene Simmons as the DJ. Forty years old this week; at all five Alamos today. Don’t play it backward
Godzilla vs. MechagodzillaFor Godzilla’s twentieth birthday, Toho built him a robot double. Jun Fukuda’s 1974 film introduces Mechagodzilla, an alien weapon wearing a Godzilla disguise, and King Caesar, the Okinawan guardian who joins the fight. A morning show at Mueller, ahead of Sunday’s matinees. Accept no substitutes
Trick or TreatOzzy Osbourne plays a TV preacher warning America about heavy metal. Charles Martin Smith, Toad in American Graffiti, made his directing debut on this 1986 film: a bullied metalhead plays his dead idol’s last record backward and gets Sammi Curr back, with Gene Simmons as the DJ. Forty years old this week; at all five Alamos today, and twice here. Don’t play it backward
The DevilsMueller picks up the digital run for the weekend. Ken Russell’s 1971 film: Oliver Reed, Vanessa Redgrave, Derek Jarman’s sets. AFS has the new restoration at 8:15
Green RoomPatrick Stewart, cast against everything, as the man who runs a neo-Nazi bar. Jeremy Saulnier’s follow-up to Blue Ruin: a broke punk band takes a gig in the Oregon backwoods, sees something it shouldn’t, and barricades itself in the green room, with Anton Yelchin and Imogen Poots. One late show. Nobody leaves
ScreamWes Craven’s 1996 slasher turns thirty, in a new 4K restoration. Kevin Williamson’s script, Neve Campbell as Sidney, Drew Barrymore in the opening scene. One late show. Don’t answer the phone
Wild at HeartDavid Lynch’s road movie in its new 4K restoration, opening the same day at AFS. Nicolas Cage and Laura Dern on the run from her mother, played by Diane Ladd, Dern’s real one, through a 1990 South that Lynch keeps crossing with The Wizard of Oz. Two shows. Mind the snakeskin
Trick or TreatOzzy Osbourne plays a TV preacher warning America about heavy metal. Charles Martin Smith, Toad in American Graffiti, made his directing debut on this 1986 film: a bullied metalhead plays his dead idol’s last record backward and gets Sammi Curr back, with Gene Simmons as the DJ. Forty years old this week; at all five Alamos today. Don’t play it backward
HalloweenJohn Carpenter wrote the score himself, fast, and the theme is in 5/4. His 1978 film, with Donald Pleasence as Dr. Loomis and Jamie Lee Curtis in her first feature, babysitting in Haddonfield on Halloween night. A late show the night before. Check the closet
Trick or TreatOzzy Osbourne plays a TV preacher warning America about heavy metal. Charles Martin Smith, Toad in American Graffiti, made his directing debut on this 1986 film: a bullied metalhead plays his dead idol’s last record backward and gets Sammi Curr back, with Gene Simmons as the DJ. Forty years old this week; at all five Alamos today. Don’t play it backward
Trick or TreatOzzy Osbourne plays a TV preacher warning America about heavy metal. Charles Martin Smith, Toad in American Graffiti, made his directing debut on this 1986 film: a bullied metalhead plays his dead idol’s last record backward and gets Sammi Curr back, with Gene Simmons as the DJ. Forty years old this week; a Halloween-morning show. Don’t play it backward
HalloweenJohn Carpenter wrote the score himself, fast, and the theme is in 5/4. His 1978 film, with Donald Pleasence as Dr. Loomis and Jamie Lee Curtis in her first feature, babysitting in Haddonfield on Halloween night. On the night itself, at all five Alamos; the 4:00 is nearly sold out. Check the closet
The Rocky Horror Picture ShowIt has never really left theaters since 1975, the longest theatrical run there is. Jim Sharman’s film of Richard O’Brien’s stage musical, with Tim Curry as Frank-N-Furter and Susan Sarandon and Barry Bostwick as the couple whose car breaks down. Late show at four Alamos tonight. Dress accordingly
The DevilsA late show, digital, for anyone not yet frightened enough. Ken Russell’s 1971 film: Oliver Reed, Vanessa Redgrave, Derek Jarman’s sets. AFS has the new restoration at 2:35 and 8:15
Godzilla vs. MechagodzillaFor Godzilla’s twentieth birthday, Toho built him a robot double. Jun Fukuda’s 1974 film introduces Mechagodzilla, an alien weapon wearing a Godzilla disguise, and King Caesar, the Okinawan guardian who joins the fight. A Saturday morning show, a day before the Sunday matinees. Accept no substitutes
HalloweenJohn Carpenter wrote the score himself, fast, and the theme is in 5/4. His 1978 film, with Donald Pleasence as Dr. Loomis and Jamie Lee Curtis in her first feature, babysitting in Haddonfield on Halloween night. The earliest Alamo show on the night itself, and the first half of a Carpenter double with The Fog. Check the closet
The FogJohn Carpenter’s next film after Halloween, with Jamie Lee Curtis back and her mother, Janet Leigh, in the cast. His 1980 ghost story rolls a glowing fog into a California fishing town on its hundredth birthday, with Adrienne Barbeau on the radio from the lighthouse. Three hours after Halloween, for a Carpenter double. Don’t answer the door
Killer Klowns from Outer SpaceThe Chiodo Brothers built the creatures for Critters, then made a whole movie of their own. Stephen Chiodo’s 1988 film lands a circus tent outside a small town; the klowns cocoon people in cotton candy, and the Dickies play the theme. Second night. Don’t eat the popcorn
The Rocky Horror Picture ShowIt has never really left theaters since 1975, the longest theatrical run there is. Jim Sharman’s film of Richard O’Brien’s stage musical, with Tim Curry as Frank-N-Furter and Susan Sarandon and Barry Bostwick as the couple whose car breaks down. Late show at four Alamos tonight. Dress accordingly
HalloweenJohn Carpenter wrote the score himself, fast, and the theme is in 5/4. His 1978 film, with Donald Pleasence as Dr. Loomis and Jamie Lee Curtis in her first feature, babysitting in Haddonfield on Halloween night. On the night itself, at all five Alamos; Mueller runs it twice. Check the closet
FaustF.W. Murnau’s Faust turns a hundred this year, and Mephisto gets Halloween night. Emil Jannings is the devil, in the last film Murnau made in Germany before Hollywood. One show; AFS plays it with a live score on Wed Nov 4. Read the contract
ScreamWes Craven’s 1996 slasher turns thirty, in a new 4K restoration. Kevin Williamson’s script, Neve Campbell as Sidney, Drew Barrymore in the opening scene. One evening show. Don’t answer the phone
NosferatuA Denver band improvises a new score to Murnau’s 1922 film, live, and no two nights sound alike. The Quarkestra Orchestra plays off the screen and the room; Max Schreck is Count Orlok. One late show on Halloween night. Mind the shadow on the stairs
Trick or TreatOzzy Osbourne plays a TV preacher warning America about heavy metal. Charles Martin Smith, Toad in American Graffiti, made his directing debut on this 1986 film: a bullied metalhead plays his dead idol’s last record backward and gets Sammi Curr back, with Gene Simmons as the DJ. Forty years old this week; a Halloween late show. Don’t play it backward
ScreamWes Craven’s 1996 slasher turns thirty, in a new 4K restoration. Kevin Williamson’s script, Neve Campbell as Sidney, Drew Barrymore in the opening scene. One matinee. Don’t answer the phone
Wild at HeartDavid Lynch’s road movie in its new 4K restoration, here and at AFS today. Nicolas Cage and Laura Dern on the run from her mother, played by Diane Ladd, Dern’s real one, through a 1990 South that Lynch keeps crossing with The Wizard of Oz. Two shows. Mind the snakeskin
HalloweenJohn Carpenter wrote the score himself, fast, and the theme is in 5/4. His 1978 film, with Donald Pleasence as Dr. Loomis and Jamie Lee Curtis in her first feature, babysitting in Haddonfield on Halloween night. On the night itself, at all five Alamos; two shows here. Check the closet
The Rocky Horror Picture ShowIt has never really left theaters since 1975, the longest theatrical run there is. Jim Sharman’s film of Richard O’Brien’s stage musical, with Tim Curry as Frank-N-Furter and Susan Sarandon and Barry Bostwick as the couple whose car breaks down. Late show at four Alamos tonight. Dress accordingly
Trick or TreatOzzy Osbourne plays a TV preacher warning America about heavy metal. Charles Martin Smith, Toad in American Graffiti, made his directing debut on this 1986 film: a bullied metalhead plays his dead idol’s last record backward and gets Sammi Curr back, with Gene Simmons as the DJ. Forty years old this week; a Halloween late show. Don’t play it backward
ScreamWes Craven’s 1996 slasher turns thirty, in a new 4K restoration. Kevin Williamson’s script, Neve Campbell as Sidney, Drew Barrymore in the opening scene. One matinee, here and at Lakeline. Don’t answer the phone
HalloweenJohn Carpenter wrote the score himself, fast, and the theme is in 5/4. His 1978 film, with Donald Pleasence as Dr. Loomis and Jamie Lee Curtis in her first feature, babysitting in Haddonfield on Halloween night. On the night itself, at all five Alamos; two shows here. Check the closet
The Rocky Horror Picture ShowIt has never really left theaters since 1975, the longest theatrical run there is. Jim Sharman’s film of Richard O’Brien’s stage musical, with Tim Curry as Frank-N-Furter and Susan Sarandon and Barry Bostwick as the couple whose car breaks down. Late show at four Alamos tonight. Dress accordingly
Wild at HeartDavid Lynch’s road movie in its new 4K restoration, at three Alamos, Regal Gateway and AFS today. Nicolas Cage and Laura Dern on the run from her mother, played by Diane Ladd, Dern’s real one, through a 1990 South that Lynch keeps crossing with The Wizard of Oz. Two shows, an hour apart. Mind the snakeskin
The DevilsA late show, digital. Ken Russell’s 1971 film: Oliver Reed, Vanessa Redgrave, Derek Jarman’s sets. Village and Mueller have it too; AFS has the new restoration at 7:30
Godzilla vs. MechagodzillaFor Godzilla’s twentieth birthday, Toho built him a robot double. Jun Fukuda’s 1974 film introduces Mechagodzilla, an alien weapon wearing a Godzilla disguise, and King Caesar, the Okinawan guardian who joins the fight. A Sunday noon matinee at four Alamos. Accept no substitutes
The DevilsVillage gets the digital run for two days. Ken Russell’s 1971 film: Oliver Reed, Vanessa Redgrave, Derek Jarman’s sets. A matinee and a late show; AFS has the new restoration at 7:30
Godzilla vs. MechagodzillaFor Godzilla’s twentieth birthday, Toho built him a robot double. Jun Fukuda’s 1974 film introduces Mechagodzilla, an alien weapon wearing a Godzilla disguise, and King Caesar, the Okinawan guardian who joins the fight. A Sunday noon matinee at four Alamos. Accept no substitutes
Wild at HeartDavid Lynch’s road movie in its new 4K restoration, at three Alamos, Regal Gateway and AFS today. Nicolas Cage and Laura Dern on the run from her mother, played by Diane Ladd, Dern’s real one, through a 1990 South that Lynch keeps crossing with The Wizard of Oz. One show. Mind the snakeskin
The DevilsTwo evening shows at Mueller, the last of its weekend. Ken Russell’s 1971 film: Oliver Reed, Vanessa Redgrave, Derek Jarman’s sets. AFS has the new restoration at 7:30
HalloweenJohn Carpenter wrote the score himself, fast, and the theme is in 5/4. His 1978 film, with Donald Pleasence as Dr. Loomis and Jamie Lee Curtis in her first feature, babysitting in Haddonfield on Halloween night. One more, the night after. Check the closet
Godzilla vs. MechagodzillaFor Godzilla’s twentieth birthday, Toho built him a robot double. Jun Fukuda’s 1974 film introduces Mechagodzilla, an alien weapon wearing a Godzilla disguise, and King Caesar, the Okinawan guardian who joins the fight. A Sunday noon matinee at four Alamos. Accept no substitutes
Wild at HeartDavid Lynch’s road movie in its new 4K restoration, at three Alamos, Regal Gateway and AFS today. Nicolas Cage and Laura Dern on the run from her mother, played by Diane Ladd, Dern’s real one, through a 1990 South that Lynch keeps crossing with The Wizard of Oz. Two shows. Mind the snakeskin
Godzilla vs. MechagodzillaFor Godzilla’s twentieth birthday, Toho built him a robot double. Jun Fukuda’s 1974 film introduces Mechagodzilla, an alien weapon wearing a Godzilla disguise, and King Caesar, the Okinawan guardian who joins the fight. A Sunday noon matinee at four Alamos, and this one is nearly sold out. Accept no substitutes
Monday’s schedule isn’t posted yet.
SwingersJon Favreau wrote himself a breakup movie and gave Vince Vaughn the best lines. Doug Liman directed the 1996 comedy around the lounges of Los Feliz, with Favreau as the actor who can’t get over her and Vaughn as the friend who won’t let him. Thirty years on, one matinee. Vegas, baby
Wild at HeartDavid Lynch’s road movie in its new 4K restoration, at four Alamos and AFS today. Nicolas Cage and Laura Dern on the run from her mother, played by Diane Ladd, Dern’s real one, through a 1990 South that Lynch keeps crossing with The Wizard of Oz. One show. Mind the snakeskin
The DevilsOne late show at Village, two at Mueller. Ken Russell’s 1971 film: Oliver Reed, Vanessa Redgrave, Derek Jarman’s sets. AFS has the new restoration at 5:00
Godzilla vs. MechagodzillaFor Godzilla’s twentieth birthday, Toho built him a robot double. Jun Fukuda’s 1974 film introduces Mechagodzilla, an alien weapon wearing a Godzilla disguise, and King Caesar, the Okinawan guardian who joins the fight. Three shows at Mueller, morning to late. Accept no substitutes
Wild at HeartDavid Lynch’s road movie in its new 4K restoration, at four Alamos and AFS today. Nicolas Cage and Laura Dern on the run from her mother, played by Diane Ladd, Dern’s real one, through a 1990 South that Lynch keeps crossing with The Wizard of Oz. One matinee. Mind the snakeskin
The DevilsTwo evening shows at Mueller, one late at Village. Ken Russell’s 1971 film: Oliver Reed, Vanessa Redgrave, Derek Jarman’s sets. AFS has the new restoration at 5:00
Wild at HeartDavid Lynch’s road movie in its new 4K restoration, at four Alamos and AFS today. Nicolas Cage and Laura Dern on the run from her mother, played by Diane Ladd, Dern’s real one, through a 1990 South that Lynch keeps crossing with The Wizard of Oz. Two shows. Mind the snakeskin
Wild at HeartDavid Lynch’s road movie in its new 4K restoration, at four Alamos and AFS today. Nicolas Cage and Laura Dern on the run from her mother, played by Diane Ladd, Dern’s real one, through a 1990 South that Lynch keeps crossing with The Wizard of Oz. One show. Mind the snakeskin
The Great ExperimentFour years of the country, 2017 to 2020, shot in black and white with no sit-down interviews. Stephen Maing, who made Crime + Punishment, and Eric Daniel Metzgar filmed and cut it themselves; it played CPH:DOX and DOC NYC’s summer series. One night, with a Q&A; the guests aren’t named. Bring questions
8MMAndrew Kevin Walker followed Se7en with this, and it’s even darker. Joel Schumacher’s 1999 film sends Nicolas Cage, a surveillance man for hire, into the Los Angeles underground to find out whether a snuff film is real, with Joaquin Phoenix as the porn-shop clerk who guides him. On 35mm, nearly sold out. Some reels stay lost
The DevilsA late show, digital. Ken Russell’s 1971 film: Oliver Reed, Vanessa Redgrave, Derek Jarman’s sets. AFS has the new restoration at 4:45
Tuesday’s schedule isn’t posted yet.
Tuesday’s schedule isn’t posted yet.
Tuesday’s schedule isn’t posted yet.
Wild at HeartDavid Lynch’s road movie in its new 4K restoration, here and at AFS today. Nicolas Cage and Laura Dern on the run from her mother, played by Diane Ladd, Dern’s real one, through a 1990 South that Lynch keeps crossing with The Wizard of Oz. One show. Mind the snakeskin
The other half of the pair — oddities, exploitation and things that should not exist, Wednesdays at 9:30 at South Lamar.
Devil StoryBernard Launois’s 1986 French picture: a stranded couple, a Nazi mutant, a mummy and a possessed horse. Mind the horse
The oldest theater in Austin, and it has never stopped working. It opened on Congress Avenue in 1915 as the Majestic. Vaudeville first: the Marx Brothers, Sarah Bernhardt, Sousa, and Houdini. Slated for demolition in the Seventies, until a group of Austinites bought it instead. Its Summer Classic Film Series has run every year since 1975 and reached its 52nd season this August. Closed through spring for its first major restoration in fifty years; programming has moved to the State and the Bullock.
ScreamAt Bass Concert Hall, for the Paramount and Texas Performing Arts. Thirty years on, David Arquette takes questions. Wes Craven’s 1996 slasher for its anniversary, then a moderated interview and audience Q&A with the man who played Dewey. Doors at 5:30. The deputy will see you now
Tiger Mom AcademyA desperate housewife joins a cult of Tiger Moms to discipline her rebellious kids. A family comedy and a juried selection, on the Austin Film Festival’s first night at the State. Doors 6:35; advance tickets $20, with badges and Film Passes seated first. Homework first
Bitter ChristmasAlmodóvar writes a filmmaker who is writing a film about his own panic attack. Bárbara Lennie and Leonardo Sbaraglia; Alberto Iglesias won the soundtrack prize at Cannes for the score. Texas premiere at the State, the festival’s opening-night late show. No advance tickets: the box office sells what’s left 20 minutes before. Merry, mostly
The ToastJon Lovitz and Andy Richter at a wedding that is coming apart. Tom W. Meyers wrote and directed the 82-minute comedy, which the festival sums up in one line: a desperate wedding party scrambles. Austin Film Festival at the State; doors at noon, advance tickets $20. Raise a glass
Paper MoonFrank Marshall, an associate producer on it eight years before Raiders, comes to talk about it. Peter Bogdanovich’s 1973 Depression road movie, with Ryan and Tatum O’Neal, for the Austin Film Festival’s On the Road series at the State. Doors at 2:50; advance tickets $20. Read the fine print
RatedEvery adult wakes up with a Yelp-style star rating over their head, and hers reads two and a half. John Fortson’s world premiere, a juried selection he wrote with its star, Christie Lynn Smith; Abby Ryder Fortson and Dale Dickey co-star, and all four attend. At the State; no advance tickets, the box office sells what’s left 20 minutes before. Tip your server
The StalemateA robber and a sheriff in the Old West, both out of bullets, and neither willing to quit. Nicholas Arioli’s world premiere, with Ben Foster, Manny Jacinto and Fiona Shaw; the festival calls it a comedy, sort of. At the State; no advance tickets, the box office sells what’s left 20 minutes before. Bring ammunition
The Long HaulMargo Martindale drives a semi, and the parole board is about to catch up with her. David Drake’s first feature, a road drama that premiered at Tribeca in June, with Cole Sprouse as the trucker-influencer riding along. Texas premiere at the State; doors at 11:30, advance tickets on sale. Keep it between the lines
Ray GunnBrad Bird’s first animated feature since Incredibles 2, and he brings it himself. Sam Rockwell voices private eye Raymond Gunn in Metropia, the future as 1939 pictured it, with Scarlett Johansson, Tom Waits and Bobby Cannavale; Patton Oswalt comes with Bird. Texas premiere at the State; no advance tickets. The future was better in 1939
PickpocketsA world premiere from Sydney: two pickpockets, one score, and feelings getting in the way. D.C. Fairhurst directs and co-stars with his co-writer, Lucy Green, as a lone wolf and a rookie who team up, with Tim Minchin and Zoe Terakes. At the State; doors at 8:50, advance tickets on sale. Watch your wallet
Little Miss SunshineMichael Arndt’s first produced script, twenty years on, and he’s at the State to talk about it. Jonathan Dayton and Valerie Faris’s 2006 film puts Greg Kinnear, Toni Collette, Steve Carell and Alan Arkin in a yellow VW bus with a clutch that only works if everyone pushes. Austin Film Festival anniversary screening at the State; advance tickets $20. Push to start
A Man of Vision: The Story of Bill WittliffA world premiere about the man who brought Lonesome Dove to the screen. Elizabeth Mims’s documentary follows Bill Wittliff from a small Texas town through photography, film and storytelling, with Tommy Lee Jones among the people on camera. Austin Film Festival, 75 minutes, at the State; advance tickets $20. Texas, through his lens
SolidarityA Mexican seamstress and a Lithuanian butcher, working the same few blocks of LA’s Fashion District. Dustin Brown’s feature, with Elpidia Carrillo, follows two parallel lives of loss and labor until they meet. Austin Film Festival, 98 minutes, at the State; advance tickets $20. Two strangers, one block
Shorts Program 3: Best Lil’ Shorts in AustinThe festival’s late Sunday block of shorts, presented by the Big Bend Film Commission. Two hours of short films at the State; the full lineup is on the Austin Film Festival’s site. Short attention spans welcome
Nothing on the Paramount or State calendar today.
Nothing on the Paramount or State calendar today.
The most immersive cinema experience in Texas. Six storeys of screen inside the state history museum, running dual 4K laser projectors — one of a handful of installations worldwide that can fill the full 1.43:1 frame, the tall, almost square shape an IMAX camera actually records. The room was purpose-built rather than converted: soundproofed, steeply raked, speakers placed for the space instead of fitted into it. The slate mixes Hollywood on the giant screen with nature documentaries and the Paramount’s classic series, so the same week can hold a Nolan release and a film about monarch butterflies.
Deep in the Heart43 min — narrated by McConaughey
Horse Power3D, 45 min — narrated by Josh Brolin
Lost Wolves of Yellowstone43 min — what happened when the wolves came back
Train Time45 min, rated G
Superhuman Body3D, 40 min
Showtimes vary by day. Museum members get a dollar off.
Deep in the Heart43 min — narrated by McConaughey
Horse Power3D, 45 min — narrated by Josh Brolin
Lost Wolves of Yellowstone43 min — what happened when the wolves came back
Train Time45 min, rated G
Superhuman Body3D, 40 min
Showtimes vary by day. Museum members get a dollar off.
Deep in the Heart43 min — narrated by McConaughey
Horse Power3D, 45 min — narrated by Josh Brolin
Lost Wolves of Yellowstone43 min — what happened when the wolves came back
Train Time45 min, rated G
Superhuman Body3D, 40 min
Showtimes vary by day. Museum members get a dollar off.
Deep in the Heart43 min — narrated by McConaughey
Horse Power3D, 45 min — narrated by Josh Brolin
Lost Wolves of Yellowstone43 min — what happened when the wolves came back
Train Time45 min, rated G
Superhuman Body3D, 40 min
Showtimes vary by day. Museum members get a dollar off.
Deep in the Heart43 min — narrated by McConaughey
Horse Power3D, 45 min — narrated by Josh Brolin
Lost Wolves of Yellowstone43 min — what happened when the wolves came back
Train Time45 min, rated G
Superhuman Body3D, 40 min
Showtimes vary by day. Museum members get a dollar off.
Deep in the Heart43 min — narrated by McConaughey
Horse Power3D, 45 min — narrated by Josh Brolin
Lost Wolves of Yellowstone43 min — what happened when the wolves came back
Train Time45 min, rated G
Superhuman Body3D, 40 min
Showtimes vary by day. Museum members get a dollar off.
Deep in the Heart43 min — narrated by McConaughey
Horse Power3D, 45 min — narrated by Josh Brolin
Lost Wolves of Yellowstone43 min — what happened when the wolves came back
Train Time45 min, rated G
Superhuman Body3D, 40 min
Showtimes vary by day. Museum members get a dollar off.
Ever wanted to be part of the club? The lowest tier is $5 a month — 20% off every event, access to the Discord, and invitations to free member screenings.
The most alive room in Austin cinema, and it barely looks like a cinema at all. A member-run nonprofit clubhouse on Chicon Street that programs what nobody else will and usually puts the artists in the room with the audience. Screenings share the calendar with live music, readings, zine launches and performance; guest programmers get handed the projector; tickets are usually a sliding scale, often around $8 to $15. Expect video art, regional horror, films that never got a distributor and the occasional canonical classic shown for the right reasons. Doors are usually half an hour before, and the crowd is the point as much as the film.
NopeJordan Peele made a western where the trouble is up in the sky. Daniel Kaluuya and Keke Palmer play siblings who train horses for Hollywood, out in a California gulch; Hoyte van Hoytema shot it on IMAX film. Black Is Not a Genre presents. Doors at 7:00. Eyes down
SpookiesThree directors are credited, because the film’s backer hired a third to shoot new scenes and spliced them into the other two’s stalled movie. The 1986 result strands a carload of travelers in a sorcerer’s mansion full of monsters. Vinegar Syndrome brings it to Hyperreal with a pop-up shop and costume prizes, copies of the film among them. Doors at 6:30, film at 7:30. Mind the seams
The ConjuringThe film that turned Ed and Lorraine Warren into a franchise. James Wan’s 2013 haunted-farmhouse picture, with Patrick Wilson and Vera Farmiga as the demonologists and a Rhode Island family that moved into the wrong house in 1971. Doors at 7:00. Don’t play hide-and-clap
No films on the Hyperreal calendar today.
No films on the Hyperreal calendar today.
GhostlightA real family plays the family. Keith Kupferer is a construction worker who wanders into a community-theater Romeo and Juliet; his wife and daughter on screen are his wife and daughter off it, Tara Mallen and Katherine Mallen Kupferer. Kelly O’Sullivan and Alex Thompson’s 2024 film, after Saint Frances. Doors at 7:00. Break a leg
HardballKeanu Reeves coaching Little League in Cabrini-Green, two years after The Matrix. Brian Robbins’s 2001 film, from Daniel Coyle’s book about a season with a team from the Chicago projects, with Diane Lane as the teacher. Doors at 7:00. Batter up
Rental memberships start at $10 a month ($5 for students, seniors and people with disabilities) for one video out at a time — a better deal than most streaming platforms, with a far better selection, and you get to talk to actual humans about movies. Just like the old days.
Don’t call it a comeback…they been here for years. They rescued the collection of I Luv Video and reconstituted it in the old Vulcan Video location on North Loop. Essentially a volunteer-run, nonprofit physical-media archive, lending library and film-club clubhouse disguised as an old-fashioned neighborhood video store. VHS, laserdisc, DVD, thousands of titles that exist on no streamers anywhere.
Behind the shelves, a microcinema barely bigger than a living room, where members and guest programmers put on one-off screenings, and which you can rent for about what a round of drinks costs.
No screenings on the We Luv Video calendar today.
Blood FeastThe first gore movie, and it knows it. Herschell Gordon Lewis’s 1963 picture: a caterer agrees to throw an Egyptian feast for a girl’s birthday and harvests the ingredients himself. Blood Shed Theater brings it to the microcinema at 7:30, doors at 7:00, $5. Skip the catering
HauntedWeenIt went straight to video stores in 1991 with a refund offer if it didn’t rent, and not one tape came back. WM. Douglas Robertson shot it on 16mm in 23 days in Bowling Green, Kentucky: a frat fundraiser in an abandoned haunted house, and the owner’s masked son. Vinegar Syndrome presents, with a pop-up shop; doors at 7:00, $5, sold out. Keep the receipt
No screenings on the We Luv Video calendar today.
No screenings on the We Luv Video calendar today.
No screenings on the We Luv Video calendar today.
No screenings on the We Luv Video calendar today.
The classiest way to see a film downtown. Austin’s arthouse since 2011, tucked into the Second Street District. Four small rooms — the largest seats about fifty — which makes it the most intimate cinema in the city and the one place where the front row is genuinely the good seat. Programming runs to independent, documentary and international, with the occasional 35mm booking alongside the wide releases worth seeing, and it holds smaller films for weeks after the multiplexes drop them. Reserved seating, a proper lobby bar you can carry a drink from, and four hours of validated parking in the garage next door — which downtown is close to a public service.
Invasion of the Body SnatchersKevin McCarthy is still running, twenty-two years later. Philip Kaufman moves Don Siegel’s pod people to 1978 San Francisco, with Donald Sutherland, Brooke Adams, Jeff Goldblum and Leonard Nimoy; McCarthy, the 1956 film’s star, turns up in the street, and Siegel drives a cab. One matinee. Don’t fall asleep
Nothing beyond first-run.
Nothing beyond first-run.
HalloweenJohn Carpenter wrote the score himself, fast, and the theme is in 5/4. His 1978 film, with Donald Pleasence as Dr. Loomis and Jamie Lee Curtis in her first feature, babysitting in Haddonfield on Halloween night. One show, on the night itself. Check the closet
Nothing beyond first-run.
Nothing beyond first-run.
Nothing beyond first-run.
Free to join and the perks are out of this world. A point per dollar on tickets and concessions, redeemable for both; a free ticket on your birthday; members-only screenings; and pre-sale access before everyone else.
A multiplex that keeps turning up when it matters. Eleven screens at Highland, on the site of the old mall, with recliners and reserved seating and the wide-release slate you would expect. What earns it a place here is who it lets in: aGLIFF takes the building over for Big Queer Weekend, and it books family matinees, anniversary runs and titles the arthouses do not have room for. Not a repertory house, but the one commercial cinema in town that behaves like it wants to be part of the film community rather than adjacent to it.
ScreamWes Craven’s 1996 slasher turns thirty, and everyone in it has seen the same horror movies you have. Kevin Williamson’s script, Neve Campbell as Sidney, Drew Barrymore in the opening scene. One evening show, the same night David Arquette is at Bass. Don’t answer the phone
Nothing beyond first-run so far; this day’s listings may still change.
Nothing beyond first-run so far; this day’s listings may still change.
ScreamWes Craven’s 1996 slasher turns thirty, and everyone in it has seen the same horror movies you have. Kevin Williamson’s script, Neve Campbell as Sidney, Drew Barrymore in the opening scene. One late show, on Halloween. Don’t answer the phone
The Shawshank RedemptionIt flopped in theaters in 1994 and spent the next thirty years winning on cable. Frank Darabont’s adaptation of a Stephen King novella, with Tim Robbins as the banker who walks into Shawshank and Morgan Freeman as the man who gets things. One late-morning show. Get busy living
Nothing beyond first-run so far; this day’s listings may still change.
Free to join. Regal Rewards earns 100 points per dollar on tickets and concessions, redeemable for tickets, snacks and merch. Rewards+ adds a 2D ticket every month that rolls over if you skip, 20% off snacks and no online fees, from $10.99 a month.
A first-run chain with a repertory habit. Most of the week is the wide-release slate, but read the margins: anniversary re-releases, Studio Ghibli Fest, one-night classics, the Monday Mystery Movie, and new Tamil, Telugu and Hindi releases at Gateway.
Three Austin locations. Gateway has the IMAX screen and 4DX; Metropolitan has RPX and 4DX; Westgate is almost all first-run.
Note: we’re only listing special events and repertory screenings, but Regal carries a full slate of wide releases too. Full schedule here.
Nothing beyond first-run.
It FollowsThe thing that follows only ever walks, and it never stops. David Robert Mitchell’s 2014 film, with Maika Monroe in the Detroit suburbs and a synth score by Disasterpeace. Four shows. Sit near the exit
The DevilsDown to one matinee a day, digital on laser projection, and Thursday is the last. Ken Russell’s 1971 film: Oliver Reed, Vanessa Redgrave, Derek Jarman’s sets
TerrifierArt the Clown worked his way up through Damien Leone’s short films before he got a feature of his own. Leone’s 2016 slasher, with David Howard Thornton under the greasepaint, and Art never says a word. One late show. Not for the squeamish
ChristineJohn Carpenter took the Stephen King job right after The Thing flopped. His 1983 film about a 1958 Plymouth Fury with a jealous streak, scored by Carpenter with Alan Howarth. Four shows. Don’t let her drive
ScreamWes Craven’s 1996 slasher turns thirty, in a new 4K restoration. Kevin Williamson’s script, Neve Campbell as Sidney, Drew Barrymore in the opening scene. One show. Don’t answer the phone
TerrifierArt the Clown worked his way up through Damien Leone’s short films before he got a feature of his own. Leone’s 2016 slasher, with David Howard Thornton under the greasepaint, and Art never says a word. One late show. Not for the squeamish
The DevilsThe last Westgate matinee. Ken Russell’s 1971 film: Oliver Reed, Vanessa Redgrave, Derek Jarman’s sets, digital on laser projection. AFS keeps it through Wed Nov 4
The Nightmare Before ChristmasIn 3D and 4DX, from Disney’s 2006 conversion. Henry Selick’s 1993 stop-motion musical, with Danny Elfman singing for Jack Skellington. One matinee a day through Sunday; Metropolitan has one at 2:10. Pick a holiday
Terrifier 2In 2022 the stories came in from theaters of people fainting and throwing up. Damien Leone’s sequel brings Art the Clown back on Halloween against Lauren LaVera’s Sienna, for two hours and eighteen minutes. One late show. Bring a bag
HalloweenJohn Carpenter wrote the score himself, fast, and the theme is in 5/4. His 1978 film, with Donald Pleasence as Dr. Loomis and Jamie Lee Curtis in her first feature, babysitting in Haddonfield on Halloween night. Four shows, the day before. Check the closet
The Nightmare Before ChristmasIn 3D and 4DX, from Disney’s 2006 conversion. Henry Selick’s 1993 stop-motion musical, with Danny Elfman singing for Jack Skellington. One matinee a day through Sunday; Gateway has one at 12:45. Pick a holiday
ScreamWes Craven’s 1996 slasher turns thirty, in a new 4K restoration. Kevin Williamson’s script, Neve Campbell as Sidney, Drew Barrymore in the opening scene. Two shows, an hour later than this week’s. Don’t answer the phone
Terrifier 2In 2022 the stories came in from theaters of people fainting and throwing up. Damien Leone’s sequel brings Art the Clown back on Halloween against Lauren LaVera’s Sienna, for two hours and eighteen minutes. One late show. Bring a bag
Nothing beyond first-run.
The Nightmare Before ChristmasIn 3D and 4DX, from Disney’s 2006 conversion. Henry Selick’s 1993 stop-motion musical, with Danny Elfman singing for Jack Skellington. One matinee, on the holiday it starts on; Metropolitan has two. Pick a holiday
Terrifier 3In October 2024 an unrated slasher about a killer clown opened ahead of Joker: Folie à Deux. Damien Leone’s third film moves Art the Clown to Christmas, with Lauren LaVera back as Sienna. One late show, the last of three Terrifier nights. Bring a bag
The Nightmare Before ChristmasIn 3D, from Disney’s 2006 conversion. Henry Selick’s 1993 stop-motion musical, two matinees on the holiday it starts on. Pick a holiday
Trick ’r TreatWarner Bros. shelved it for two years, sent it straight to DVD, and it became a Halloween standard anyway. Michael Dougherty’s 2007 anthology runs four stories through one Ohio town on Halloween night, with Brian Cox, Anna Paquin and Dylan Baker, and Sam in his burlap sack. Three shows, on the night. Check your candy
ScreamWes Craven’s 1996 slasher turns thirty, in a new 4K restoration. Kevin Williamson’s script, Neve Campbell as Sidney, Drew Barrymore in the opening scene. Two shows. Don’t answer the phone
Terrifier 3In October 2024 an unrated slasher about a killer clown opened ahead of Joker: Folie à Deux. Damien Leone’s third film moves Art the Clown to Christmas, with Lauren LaVera back as Sienna. One late show, the last of three Terrifier nights. Bring a bag
Nothing beyond first-run.
The Nightmare Before ChristmasIn 3D and 4DX, from Disney’s 2006 conversion. Henry Selick’s 1993 stop-motion musical, with Danny Elfman singing for Jack Skellington. The last of three matinees; Metropolitan has one at 12:10. Pick a holiday
Wild at HeartDavid Lynch’s road movie in its new 4K restoration, here, at three Alamos and at AFS today. Nicolas Cage and Laura Dern on the run from her mother, played by Diane Ladd, Dern’s real one, through a 1990 South that Lynch keeps crossing with The Wizard of Oz. One matinee. Mind the snakeskin
V for VendettaHugo Weaving plays the whole film behind a mask, and Natalie Portman shaved her head on camera. James McTeigue directed the Wachowskis’ script from the Alan Moore comic, and Moore had his name taken off it. Twenty years on, in time for the fifth of November. Two shows, at Metropolitan too. Remember, remember
OldboyThe hallway fight is one unbroken shot, one hammer and a corridor full of men. Park Chan-wook’s 2003 revenge film, with Choi Min-sik as the man locked in a room for fifteen years and given five days to find out why. In Korean with subtitles, three shows. Don’t look it up first
The Nightmare Before ChristmasIn 3D and 4DX, from Disney’s 2006 conversion. Henry Selick’s 1993 stop-motion musical, with Danny Elfman singing for Jack Skellington. The last of three matinees; Gateway has one at 12:45. Pick a holiday
The House with a Clock in Its WallsEli Roth, the director of Hostel, made a kids’ movie, and it’s properly spooky. John Bellairs’s 1973 novel, with Jack Black as the warlock uncle and Cate Blanchett as the witch next door. One matinee. Wind the clocks
V for VendettaHugo Weaving plays the whole film behind a mask, and Natalie Portman shaved her head on camera. James McTeigue directed the Wachowskis’ script from the Alan Moore comic, and Moore had his name taken off it. Twenty years on, in time for the fifth of November. Two shows, at Gateway too. Remember, remember
ScreamWes Craven’s 1996 slasher turns thirty, in a new 4K restoration. Kevin Williamson’s script, Neve Campbell as Sidney, Drew Barrymore in the opening scene. Two shows. Don’t answer the phone
Nothing beyond first-run.
Monday Mystery MovieFive dollars for a film Regal won’t name until it starts. An early screening of something not yet released; the rating and running time are all you get in advance. 7:00 at all three Regals. No spoilers
On Her Majesty’s Secret ServiceThe one Bond who quit after a single film, in the one where Bond gets married. George Lazenby opposite Diana Rigg, 1969, directed by Peter Hunt, the editor behind the early Connery films. Fifth of Regal’s six Bond Mondays; Goldfinger closes it Nov 9. One and done
Monday Mystery MovieFive dollars for a film Regal won’t name until it starts. An early screening of something not yet released; the rating and running time are all you get in advance. 7:00 at all three Regals. No spoilers
On Her Majesty’s Secret ServiceThe one Bond who quit after a single film, in the one where Bond gets married. George Lazenby opposite Diana Rigg, 1969, directed by Peter Hunt, the editor behind the early Connery films. Fifth of Regal’s six Bond Mondays; Goldfinger closes it Nov 9. One and done
Nothing beyond first-run.
The HandmaidenPark Chan-wook moves Sarah Waters’s Victorian con Fingersmith to 1930s Korea under Japanese rule. Kim Min-hee is the heiress, Kim Tae-ri the maid hired to help rob her, and nobody is working for whom they say. Ten years on, three shows, in Korean and Japanese with subtitles. Read the fine print
Nothing beyond first-run.
NosferatuThe man with the world record for the longest guitar solo is scoring Nosferatu, live. David DiDonato plays his own score to Murnau’s 1922 film outdoors at Sekrit Theater, for Austin Flick Clique’s third anniversary; Jack Arnold’s Creature from the Black Lagoon follows, introduced by poster artist Dale Carroll of Short Fuse Studios. All ages. Pace yourself
The GooniesMouth and Andy, onstage at the Moody Theater. Corey Feldman and Kerri Green take questions after Richard Donner’s 1985 film, from a Steven Spielberg story and a Chris Columbus script, billed as its fortieth-anniversary screening at ACL Live. Goonies never say die
Young FrankensteinFree at Meanwhile Brewing for the last of its Thursday Halloween nights, a Frankenstein double: Tim Burton’s stop-motion Frankenweenie and Mel Brooks’s 1974 film, shot in black and white with some of the lab equipment from the 1931 original. Concessions from 6:00, order not posted. Walk this way
An American in ParisAt the French Legation, outdoors on the grounds, for its Painted Dreams & Western Horizons series: Vincente Minnelli’s 1951 Best Picture winner, with Gene Kelly and Leslie Caron and a Gershwin ballet for a finale. Gates at 6:30; $5, kids free with an adult. Bring a blanket
CocoFree at Springwoods Park for Austin Parks Foundation’s Movies in the Park, with Rocket Cinema: Lee Unkrich and Adrian Molina’s 2017 Pixar film about a boy who follows his music into the Land of the Dead on Día de Muertos. Dogs, picnics and lawn chairs welcome. Remember me
Beetlejuice BeetlejuiceThirty-six years on, Tim Burton made the sequel, and Michael Keaton put the stripes back on. Winona Ryder is back as Lydia, with Jenna Ortega as her daughter and Catherine O’Hara still sculpting. Free deck seating at Mozart’s Coffee Roasters for its Thursday Movies on the Lake, RSVP advised, or watch from a rented paddleboard. Don’t say it three times
Hocus PocusPoolside on the Fairmont rooftop, the last of its Friday Dive-In Movies: Kenny Ortega’s 1993 film, with Bette Midler, Sarah Jessica Parker and Kathy Najimy as the Sanderson sisters. Doors at 6:30; free for hotel guests. Don’t light the candle
Halloween Horror ShowA Devil’s Night horror bill on 16mm, in the single-screen cinema inside the Millennium on Hargrave Street. Eastside Cinema’s listing names no titles beyond a classic college slasher. $13 at the door, 7:00 to 10:00. Bring a flashlight
The WitchRobert Eggers’ first feature, screened in a goat pen, where Black Phillip has seventy-one understudies. Rocket Cinema sets up inside the pen at Jester King; bring a camp chair, closed-toe shoes and bug spray, and get there by 7:30. 18+, $20, and it sells out. Wouldst thou?
TwilightThe first Twilight and the last, back to back, free, on Halloween. Catherine Hardwicke’s 2008 film starts the night at the ABGB and Bill Condon’s Breaking Dawn – Part 2 ends it; costumes encouraged. Pick a team
CocoPixar’s Día de Muertos film, in Spanish, on the weekend of the holiday. At Meanwhile Brewing, a Sunday Halloween Movie Night for Lee Unkrich’s 2017 film, with the Spanish-language track. Remember me
LabyrinthJim Henson’s 1986 film turns forty with a live band under the screen. Jennifer Connelly goes into the Goblin City after her baby brother, and David Bowie’s Goblin King would rather she didn’t; a rock band, synths and percussion play the music live at ACL Live at the Moody Theater. Mind the Bog of Eternal Stench
The Girl Can’t Help ItThe rock-and-roll movie that hired the actual rock-and-rollers. Frank Tashlin’s 1956 comedy, in CinemaScope color, stars Jayne Mansfield and Tom Ewell and stops for Little Richard, Fats Domino, Gene Vincent and Eddie Cochran. Austin Flick Clique’s Soundtracks of Cinema series at Sekrit Theater, introduced by its sixteen-year-old programmer; the club’s announcement says 7:00, Do512 says 7:30. Turn it up
No outdoor or one-off screenings listed today.
A 400-seat outdoor amphitheater
donated by Alamo Drafthouse, sitting in the middle of Community First! Village — the 51-acre neighborhood Mobile Loaves & Fishes built for people coming off the street. 440 formerly homeless neighbors live there now, in tiny homes with a working farm, an art house and a market.
Admission is free and always has been. The concession stand is the point: it is staffed by Village residents earning a dignified income, so the popcorn you buy is the fundraising. Cards only, no cash. Bring a chair and a blanket, and take the guided tour they run before most screenings.
Branch screenings run all year. The pick of it is Weeknight Cinema at the Gillum Branch — a proper repertory strand with ongoing themes. Most are free and walk-in; a few ask you to register.
Free screenings on the patio of the East Sixth bar, with trivia, movie bingo and quote-alongs around the film. October is Which Witch Wednesdays.
This week’s patio screening is still being checked.
A mobile outdoor cinema that has been putting up its big screen around Central Texas since 2020, at parks, pools, breweries and museums. Many of its shows are ticketed; the free ones are listed here.
Austin Parks Foundation with Rocket Cinema, eleven years running. Free screenings that rotate through neighborhood parks, plus poolside nights at Deep Eddy in summer. First hundred bags of popcorn are free. Dogs, picnics and lawn chairs welcome; no glass or alcohol. Parking is tight at most parks — they suggest biking. Rain dates get rescheduled, so check before you go.
Two fall shows: Coco at Springwoods Park, Thu Oct 29, and Toy Story, Sat Nov 21.
Stream thousands of films at home, free with an Austin Public Library card. A deep, library-curated collection of arthouse, independent, international, classic and documentary cinema — especially strong on films that fall outside the mainstream streaming ecosystem.
Not free, but close: Alamo’s Kids Camp runs $1–5 through the summer, and Regal’s Summer Movie Express is $1 on Tuesday and Wednesday mornings.
The epitome of a DIY film community, with a focus on local filmmakers. Volunteer-run since 2016, and occupying its own clubhouse since 2024.
Sign up to work events or build photo booths, for free tickets and the Discord.
A nonprofit video store and microcinema, run entirely by volunteers. At its present location
since 2023.
Fill out the form to work the counter as a shift lead, or help run screenings and events.
Every membership level brings quarterly mixers and a free Member Monday screening. From $65 a year.
The café and bar in the lobby sit under vintage cinema posters from Richard Linklater’s own collection, along with movie-soundtrack album covers.
Posters from 1974 line the Village’s walls, and Vulcan Video’s old collection lives in the lobby as Video Vortex.
The Village bar has a patio. At South Lamar, the Highball hosts two-step lessons.
The films are only half of it. These are the shows worth having in your ears on the drive home — the arguments, the deep dives, the people who have seen everything and still want to talk about it.
A UT film professor on what to watch after the thing you just watched. Made in Austin.
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Austin Film Festival’s craft show, running since 2012. Screenwriters and directors on how the work actually gets made.
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Samantha Rae Lopez on Texas film and filmmakers. Originally presented by Hyperreal Film Club.
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David Chen, Devindra Hardawar and Jeff Cannata on the week's releases. Running since 2008.
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Griffin Newman and David Sims work through one director's complete filmography per season, at length.
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Four critics arguing about film, TV and the industry with more heat than consensus. Weekly.
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Karina Longworth on the first century of Hollywood. Researched like a book, narrated like an essay.
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Justin Decloux and Will Sloan on cult, obscure and genuinely avant-garde film.
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Elric Kane and Brian Saur, out of the New Beverly. Built around programming and double bills.
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The Ringer's release-and-industry show. Mainstream, well informed, useful for what's actually opening.
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Release by release through the Criterion Collection, one spine at a time.
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Mike White and guests take one film apart over three or four hours. Exhaustive in the best way.
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The magazine's weekly conversation — festivals, retrospectives, and what the critics are arguing about.
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Amy Nicholson and Paul Scheer work through the canon and ask whether it deserves the reputation.
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Two academics on horror, one film at a time, with the scholarship kept readable.
This weekepisode not yet filled inby Chris Ayers · 18 films
“Does it have a cat in it?”
Freelance art director, designer, animator and illustrator in Austin. Cinephile since 1994.
Miss that feeling of not knowing what you want to watch until the box cover grabs your eye? These are the spots where you can relive your 90s glory. The clerk will be happy to chat your ear off about Tarkovsky’s more accessible films, which Wong Kar-Wai movie is best to mend a broken heart, or that Halloween III: Season of the Witch is actually a pretty good entry in the series. This is how we did it in the late 1900s and we liked it.
North Loop · member-run
A nonprofit, volunteer-run video store with more than 35,000 tapes and discs — beloved favorites, cult oddities and true rarities — plus a microcinema. Some of the videos are older than the employees — a testament to the staying power of physical media. Browse the shelves online before you go, and if you gave away your VCR, they’ll rent you one.
Rental memberships start at $10 a month ($5 for students, seniors and people with disabilities) for one video out at a time — a better deal than most streaming platforms, with a far better selection.
Alamo Village · free rentals
When Vulcan Video closed in 2020 after thirty-five years, the Alamo bought the collection rather than watch it scatter. Since the Village’s 2024 refresh it has lived in that lobby as Video Vortex, powered by Vulcan Video: every title free to rent, and they’ll lend you a Blu-ray player too.
Rentals are free! You’ll just need to register with the staff and keep a credit card on file. Late fees are $2 a day, with a limit of three videos rented at one time.
Near the airport · buy and trade
Opened this summer in a strip center off Bastrop Highway: VHS, DVD, Blu-ray, LaserDisc, anime and horror tapes, and the CRTs to play them on. No rentals and no membership cards — everything is sold or traded, and they buy collections. They are even planning to turn the store into a microcinema with a ceiling-mounted projector and drop-down screen.
The “& Video” has been in the name since 1982. Austin’s record store keeps new and used DVDs and Blu-rays alongside the vinyl, and the movie racks made the move in August 2025, five blocks up Lamar to a store half again as big. Bring your own discs to the counter any time they’re open: they pay cash, or a bonus if you take store credit.
Physical media is dead, long live physical media!
Streaming is a lease. A disc is yours. Films vanish from the services every month; the labels below keep putting them back — scanned properly, packaged with care, and made for people who plan to keep them. Criterion sets the pace, but it isn’t the only one doing the work.
Since 1984 Criterion has treated home video as publishing: restorations checked by the people who made the films, commentaries and essays worth keeping, and a numbered spine that collectors chase for decades. It’s the label the others measure themselves against.
December releases
November releases
Nov 3 Harold and Maude (Hal Ashby); KPop Demon Hunters (Maggie Kang and Chris Appelhans). Nov 10 Blue Heron (Sophy Romvari); Marie Antoinette (Sofia Coppola); Shoot the Piano Player (François Truffaut). Nov 17 Shadows of Forgotten Ancestors (Sergei Parajanov); Wild at Heart (David Lynch). Nov 24 The Right Stuff (Philip Kaufman).
October releases
Oct 6 Welcome II the Terrordome (Ngozi Onwurah). Oct 13 The Shout (Jerzy Skolimowski); Eclipse Series 5: The First Films of Samuel Fuller. Oct 20 Christiane F. (Uli Edel); The Silence of the Lambs (Jonathan Demme); The Complete Kubrick. Oct 27 Frankenstein (Guillermo del Toro).
Austin’s own, on Avenue B: the world’s largest archive dedicated to genre movies, and the only known nonprofit genre film distributor. More than six thousand prints and a 4K scanner, put to work rescuing the films nobody else was going to save. Genre movies have never had a better friend.
Latest releases
Blu-ray · preorder
Blu-ray · out now
Blu-ray · out now
Blu-ray · out nowOn the big screen
AGFA books films into theaters, too. Current DCPs: Wallace & Gromit: The Classic Shorts; A Bay of Blood, from Severin Films; Sleepaway Camp; and Hello Mary Lou: Prom Night II, from AGFA’s own 35mm preservation.
Still paying for their own 4K scans of films nobody else is fighting for. This month: Ice Cream Man and Bloody Psycho in 4K, plus another Forgotten Gialli volume.
October slate
The Last Boy Scout finally gets its 4K. Tony Scott’s film makes its global 4K debut Oct 13, from a new restoration of the camera negative approved by cinematographer Ward Russell; Futureworld and Peter Jackson’s The Frighteners follow Oct 20. October is loaded.
Coming this fall
Kino saved the biggest for last. Rollercoaster in 4K Oct 13, The Pirates of Penzance and Bluebeard Oct 20, Four Rooms Nov 10… then on Nov 24, Sergio Leone: Masterworks, the Dollars trilogy plus Once Upon a Time in the West, in 4K. Clear a shelf.
New and on preorder
Severin’s fall is stacked. New 4K sets of The Devil’s Rain, Asylum and Jack the Ripper, plus four discs of Bava’s A Bay of Blood. On preorder: The Ugly Stepsister and Gwendoline in 4K, and a four-disc Joko Anwar collection, The Sacred & The Cursed. Your wallet has been warned.
October slate
Scream Factory is ready for Halloween. Richard Attenborough’s Magic, with Anthony Hopkins and a ventriloquist’s dummy, on 4K steelbook Oct 6; Eli Roth’s Hostel films turn twenty Oct 13; and Radio Silence’s Abigail gets a collector’s edition Oct 20, alongside the Chinese Ghost Story trilogy in 4K. Don’t trust the dummy.
Shop exclusives
A24 sells its own collector’s editions, straight from its shop. New: Olivia Wilde’s The Invite on Blu-ray and 4K, after Backrooms in July, and issue 34 of the A24 zine, Disc Revolution, marks twenty years of Blu-ray. Preaching to the choir, here.
This site is created and maintained as a passion project by cinephile and graphic designer Chris Ayers at Chris Ayers Creative. Chris’ favorite night of the week is Thursday, because that’s when the new movies come out. He used to love changing the marquee by hand and putting up the new posters at the cinema where he worked. He has worked as a projectionist at three theaters.
Check out his alternative movie posters here
. You can see pics of his cats
here.
Contact him at chris at chrisayerscreative dot com.
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