Peter Lucas

The eclectic West Texas film festival revs up its projectors for four days of adventurous cinema.

In the light of the spring sun, Houston's landscape of textured surfaces and hand-painted signs is open for viewing.

This upcoming Austin screening dives inside the mechanisms of the moving image with rarely-seen film/video works by Hollis Frampton, Paul Sharits, Tony Conrad, and Steina Vasulka.

This is not a movie. Friday evening, the Menil front lawn will flicker with dream-like film experiments by Hans Richter, Man Ray, Maya Deren, Joseph Cornell, and Lawrence Jordan.

One can’t help but think about the lives beneath the story and between the shots, and marvel at what must have been a sort of filmmaking Lord Of The Flies situation in the backyards of Gulfport throughout the 80s.

This iconic and storied Houston art space ain’t going out without a bang.

El Ultimo Grito's inquiry into the collapsing of time and space in films led them to create new trailers for movies that ignore narrative to focus solely on objects and spaces.

SonicWorks is uneven, but is saved by materials documenting DiverseWorks’ pioneering sound art presentations in the 1980s and 90s.

A tour of societal codes and cinematic translations with the outrageous philosopher and cultural critic Slavoj Žižek.

Especially in the low light of the bar’s evening ambience, the salon-style constellation gives the impression that La Carafe is where all souls—good and bad, gloriously joyful and dreadfully serious—come to raise a glass, get at least slightly crooked, and disappear into time.

Austin’s Farewell Film Club presents a variety of unreal celluloid realities—not only great, rarely-seen films, but an interesting mix of stuff not normally seen together.

The inaugural post in our new series highlighting art outside the art scene illuminates the 75 year old circus mural that inspired the Toys R Us giraffe, hidden under the ceiling of a bar in Midtown Houston.

MFAH’s movie jukebox hosts a rarely-seen favorite of CAMH Director Bill Arning.

Come to think of it, it might not be a bad idea to skip the other Houston Cinema Arts Festival screenings and just journey through the Verges.

Wild Style is not only the first hip hop movie, but I would argue it’s the only real hip hop movie.

It’s an everyman’s Citizen Kane set under Texas skies, interpreted through the alienation of a Sam Shepard play and the quiet longing and restrained hope of a Wim Wenders road movie. In other words, it is really, deeply good.

One of the worst and best things to happen at this year’s Texas Contemporary Art Fair was a car crash.

Peter Lucas asks Bill Viola about early video, slow motion experiences, dreams, and death.

Struck by the cinematic qualities of these drawings, and by elements in them that reference specific movies, Peter Lucas glimpses beneath the stitches of Bise's drawings, with a DVD extra!

Les Blank’s great, hour-long 1978 film will be screened in Houston on Saturday, followed by hot food and even hotter live music.