The neighborhood fest known throughout the nation returns for its 15th edition, inviting you to journey across the Trinity for summer cinema infinity
(July 30–August 2).
Immerse yourself in images, sounds, and experiences so wonderfully singular they could only live in Dallas’ most historic, holistic, and eclectic community: Oak Cliff.
This year’s four-day-long sensory submersion has the bold stories, vibrant colors, kinetic live energy, and form-bending audiovisual encounters that make OCFF a love poem to the unique sensations of its namesake neighborhood.
OPENING NIGHT FILM
The Sun Never Sets
Wendy’s life is thrown into chaos when her boyfriend, Jack, who is older and divorced with children, insists they take space to evaluate the relationship. During their break, Wendy runs into her ex, Chuck, forcing them into a volatile triangle.
FRIDAY NIGHT FESTIVITIES
Friday is a full evening of fun fest events. Live-scored silent animation, a music-world doc, features from across the globe, shorts of every stripe, music videos, and the VIP Party — one Oak Cliff evening that runs late into the night. See the schedule for the full lineup of films and short programs. Friday VIP Party: Celebrate in style with Filmmakers, talent, sponsors, and other VIP’s.
The Adventures of Prince Achmed
THE ANVIL ORCHESTRA, featuring Mission Of Burma’s Roger Clark Miller and collaborator Terry Donahue (Concussion Ensemble), weaves a key and percussion composed live score to the groundbreaking, first ever animated feature THE ADVENTURES OF PRINCE ACHMED (1926). This incredible and innovative interpretation of 101 Arabian Nights, illustrated in a spectral and expertly experimental silhouette animation, is heightened by the clang and thunder of Miller and Donahue. The visceral end result is a larger than life, one-of-a-kind journey for your whole head.
The Last Critic
Sixty years & a million records ago, Robert Christgau invented Rock music criticism. Anyone who has ever read or written a Pop music review has been influenced by Christgau, who canonized legends from The Ramones to Public Enemy & infuriated icons from Lou Reed to Billy Joel. Now in his eighties, Bob is still at it—amazingly with the same vigor, wit, concision and craft that has defined his expansive career. But in a world where albums are irrelevant, where print is dead & where algorithms have eclipsed critics we are forced to ask: What happens next—for Bob, but also for all music criticism? Is this the end of something? Is Robert Christgau the last critic?
