Last year I think I spent as much time posting thoughts on films I was seeing at South by Southwest as I did actually attending films and panels. This year I chose to err in the other direction. There were simply too many movies to see, panels to attend, people to meet, and parties to drop by.
Highlights (in the order I saw them):
All make use of handheld digital video, feature naturalistic performances, and were made with small (or no) crews and budgets. Despite the superficial sharing of neo-neo-realistic qualities, it would be tough to compare them. Suffice to say that all are worth seeing.
As good as those films were, perhaps my two favorites of SXSW were two very polished documentaries, Second Skin and At the Death House Door.
Second Skin digs into the world of MMORPGs, and how these online games create new lives and identities — on both sides of the computer screen — for the people playing them. Not being a gamer, I wondered how much I would care about the film’s subject, especially in light of the fact that 90% of the audience I viewed it with seemed to be there to see a film about their lives. Happily, the film finds some dynamic people to follow and it does superb job of chronicling their lives, both on- and off-line. I suspect this will have a healthy life on DVD, and perhaps theatrically.
At the Death House Door was the most emotionally gripping film I saw at SXSW. A somewhat conventionally shot documentary featuring lots of interviews, it reminded me that no single documentary style has a monopoly on greatness. The film follows Carroll Pickett who, during his 15 years as the house chaplain to a Texas prison, presided over 95 executions, including the very first lethal injection done anywhere in the world. The film also tells the story of Carlos De Luna, one of those 95 prisoners executed, and one that Pickett believed to be innocent. This is a movie that had me in tears — both at horrific things, and also in admiration at the remarkable heroism of ordinary individuals. Emotions aside, it did bring some nuance to arguments for and (especially) against the death penalty. The fact that it was premiering in Austin — that is, in the capital of the state where these executions took place — made the screening experience all the more poignant. At the Death House Door was co-produced by IFC, so look for it there (and, perhaps, theatrically).
As for panels, not all of the ones I attended have been posted (nor do I know if they will) but here are the festival’s recordings of some for those of you that couldn’t be there.