Six Films Not to Miss at This Year’s South By Southwest
These standout selections span trans stories, girlhood, activism, and justice.
South by Southwest (SXSW), one of Austin’s premier festivals, returns with its 40th iteration March 12–18, with sections for music, technology, VR, TV, and film. Spanning major releases like I Love Boosters, starring Keke Palmer and Naomi Ackie, to smaller films just being introduced for the very first time, SXSW offers an extensive and exciting cross section of contemporary cinema. The film track features over 100 selections, including divisions for non-fiction, international, and music-based movies (labeled “24 Beats Per Second”), amongst others. Before the festival begins, here are some films not to miss.
Mickey
Dano García’s moving portrait documentary traces the life of their friend Mickey from childhood to the present, pairing remixed archival material with contemporary footage and staged scenes to create a praxis of trans cinema. Memory is a core thread in the film, constructing not only the oral and documented histories of Missy Mickey’s life growing up in Sinaloa, Mexico, but also shaping how these stories are retold, retooled, and amalgamated. Through desktop recordings, Photo Booth sessions, TikToks, green screen, and even the Sims, Mickey understands the importance of digital spaces to trans experiences, bringing queer tools to tell a queer story. The result is a wholly unique narrative that prioritizes authentic embodiments and anecdotes, rather than a linear telling.
Big Girls Don’t Cry
In Paloma Schneideman’s feature directorial debut, 14-year-old Sid navigates her identity, sexuality, shame, and curiosity. Set in rural New Zealand during summer break, Sid explores the possibilities of video chats and instant messaging as methods to gain access to people and experiences she wouldn’t encounter as an adolescent girl, flirting with taboos in an attempt to understand more about her own interests. When older teens take a liking to her, Sid camouflages herself to be whoever she thinks they want, opening herself up to embarrassment for the ultimate goal of acceptance. Big Girls Don’t Cry feels precise in its unwavering depiction of girlhood and its uncomfortabilities on both an internal and societal level.
First They Came For My College
Just over three years ago, Florida Republican Governor Ron DeSantis initiated a right-wing takeover of the liberal arts university, New College of Florida, citing claims of liberal indoctrination of its students. Through the appointment of six new members to its board of directors, the trajectory of the college completely transformed through organized conservative pressure, with attempts to purge the school of its current student body and attract a different constituency. Director Patrick Bresnan uses a classic verité approach to track these changes—across a series of press conferences, public board meetings, student protests, and student newspaper convenings—to give a chilling view of the quick succession of changes and their deep impact on the students whose future is dependent on the university. The result is a warning sign to many educational institutions, especially in the wake of changes made at Texas A&M and University of Texas at Austin.
My Brother’s Killer
My Brother’s Killer follows filmmaker Rachel Mason (director of Circus of Books) as she investigates the infamous murder of Bill Newton in Los Angeles. From the start, it’s clear that Mason aims to use the documentary as a means of solving the murder. The result is a true crime podcast come to life, an attempt to explain the events of a horrific hate crime and capture the current events surrounding the continued investigations into the murder. Assembling a team from former investigators on the case, current podcasters, former neighbors, Billy’s coworkers in the adult entertainment industry, and more, the film exemplifies the power of community to rally together to bring justice to one of their own. My Brother’s Killer is a testament to the impact that the lives lost to bigoted violence continue to leave lasting legacy.
Adam’s Apple
In this collaborative and heartfelt documentary, filmmaker and visual artist Amy Jenkins documents her son Adam’s transition over the course of two decades. Through home footage, photos, iPhone videos, and more, Amy and Adam create a rich portrayal, not just of gender transition but of adolescence and the changes that families go through while learning who each other will become. The two embrace complicated dynamics—including failures, embarrassment, and moments of familiarity—as they strive to create a uniquely honest depiction. It’s a tender film, utilizing a dual perspective of both mother and son to highlight the myriad of little ways that a loving family can show the depth of their affection for each other in all of the tiny ineffable gestures. It’s also a hopeful prospect of what can happen when gender-affirming care is provided to trans adolescents.
Agridulce (Bittersweet)
