Peter Lucas

David Hollander’s rigorous investigations of the golden age of library music is evident in his book — a fantastic, accessible introduction to this hidden history.

Houston hosts a rare performance by Basquiat’s un-band, and a journey through the creative life of Michael Holman.

Day for Night gets some important things right about presenting time-based art in the 21st century.

For many reasons, the mere existence of this film is miraculous. It's a gem of impossible alternate cine-reality… and it’s a lot fun.

Peter Lucas brings us a homespun Houston music broadcast to help you feel, deal, and replace the sheetrock of your soul. 

Photographers Mike Schnieder and Bill Daniel unearth and reactivate images from our movie myth machine.

The film tends to be categorized as Japanese New Wave, though that label—or really, any label—is inadequate. These Austin screenings provide a rare opportunity to walk into a truly unique, funny, dark, wild, and warped world.

CineMarfa is simply a series of unique cinematic experiences, laid out over four days in May as a montage of creative nudges and existential echoes.

The MFAH screens early films by father of African cinema, Ousmane Sembène.

This building had served as the city’s massive input/output system for a half-century, before this audacious hack

A recent resurgence of interest in Carpenter's minimal electronic soundtrack music has led to a victory lap around the globe this year that’s perfect for the veteran filmmaker.

I know that the average visitor to this show is seeking the nostalgia and sense of wonder associated with Coney Island than looking at its underbelly and contemporary relevance. I saw both.

Typical of the efforts of the de Menils and also of the creative process of Warhol, this “failed” project produced reverberations in the form of ideas, artworks, relationships, and cultural connections.

In its sixth year, CineMarfa continued building layers of connections upon its impressive, ongoing program through really smart and playful placement of our media mirrors.

When I think back to Houston in that era, I often think of one Saturday in particular, 30 years ago: April 5, 1986.

Finally, a chance to see Eagle Pennell's 1983 Houston-shot film "Last Night at the Alamo" on a big screen.

"American Epics: Thomas Hart Benton and Hollywood" at Fort Worth’s Amon Carter Museum of American Art

Newly restored Wim Wenders films in Austin and Houston.

South Park’s latest long-form satire of America’s contradictions.

Newly restored 1975 Texas art documentary Jackelope screens at the MFAH with filmmaker Ken Harrison and guest artists in attendance.