Diversity Programming At The Austin Film Festival
Coverage from the Austin Film Festival, highlighting some panels and films that emphasized the importance of diverse and inclusive storytelling.

Si-hyung, who wants to be a novelist but has never completed one yet. He promises to write an essay every month to his cousin's husband Jong-pil while drunk. He doesn't have any source to write, however, he experiences special meetings one day in a month. 7 months and 7 meetings. This is the story of those one day's.
Coverage from the Austin Film Festival, highlighting some panels and films that emphasized the importance of diverse and inclusive storytelling.
The Lighthouse is patient and hypnotic, pulling us in with its mysterious atmosphere and characters. The film’s slow pace proves to be monumentally effective, showcasing the tedious nature that comes with isolation and poor two-way communication.
The more biting satire is reserved for those on top of the power structure, such as the police, while those occupying lower levels are given more nuance and likability, even if they operate on the wrong side of the law. This principle gives Deep Cover its heart.
Ultra-violent storytelling has never been my thing, but the issues with Scarface go beyond that. The film perpetuates harmful stereotypes about Latinx immigrants and uses gore and misogyny for shock value that never serves any purpose. The whole venture is frustratingly empty, and left me desiring something more.
A family drama is woven with quiet yet powerful forces of words and nature.
Bong Joon Ho’s masterpiece, Parasite (2019) became one of the few international films to break into the American mainstream.