Nelson George is amongst the last of something not quite fingered, because of the altering perceptions of space and time around the beginnings of hip-hop. The incredibly accomplished critic/columnist/author/filmmaker was at the forefront of a movement, scribe to early hip-hop’s pied pipers.

Keegan-Michael Key and Jordan Peele are best known for escalating one-joke sketch comedy, typically riffing on race and black identity in America.

A high-concept study in faith made blasphemous with toxic humor, Little Sister is the new film from director Zach Clark.

In Hunter Gatherer, writer/director Josh Locy’s first narrative feature, Ashley Douglas (Andre Royo of The Wire), eagerly attempts to reconnect with his friends and family following a stint in prison. Sadly, they aren’t eager to connect with him. It’s okay. He’s an optimistic guy.

Some tough guys just want to be left alone. Most of them, come to think of it. Let ‘em wander off into the Andalusian sunset, heavy-leaded and sagging sideways off their stallion into dust while an Ennio Morricone score bodes ill in the background.

SXSWi panelist and councilmember, Ann Kitchen requested a change to the title of the panel Innovation vs. Regulation in Austin. “It’s not ‘versus’” she said. “We’re talking about innovation and regulation.” A graceful intro from someone at the center of Austin’s transportation/regulation debate.

Motion pictures – with sound, no less – have been around for a while. The gears that turned pre-digital reels are long in the tooth and now freshly pixelated blood pumps relentlessly from the projecting hearts of modern creation.

Julia Hart, the screenwriter of The Keeping Room, last year’s revisionist feminist Western thriller (for lack of any better catch-all description), switches gears entirely in her follow-up film Miss Stevens, which she co-wrote and makes a debut as a director.

New technologies are a dime a dozen, but new mediums don't come around every day. At a series of afternoon panels at Easy Tiger, The New York Times held a coming out party for NYT VR, an immersive medium that bridges the gap between traditional filmmaking and experiential media.