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    Filmmaker Spotlight

    Filmmaking is a family affair for Dallas actress and director Augustine Frizzell

    Jessica Tomberlin
    Mar 4, 2014 | 10:40 am

    Augustine Frizzell started working in Texas independent film as an actress over a decade ago, appearing in films like Ain’t Them Bodies Saints and Hellion. But over the years she’s had her hand in a number of roles both on screen and behind the camera. Now she can add writer/director to that list.

    Frizzell’s short film, I Was a Teenage Girl, is included in the 2014 SXSW Texas Shorts competition, which kicks off this Friday, March 7.

    “This is my fifth year to go [to South by Southwest], and it’s my absolute favorite festival,” she says.

    Her husband is David Lowery, whose films have helped propel the Dallas film scene into the spotlight. Her daughter, Atheena, is also a writer and actress.

    This year is extra special for Frizzell, not only because she’ll be premiering her own short, but it also marks the first time she’ll be attending with a film in which she’s cast in a prominent role. Frizzell stars in Dallas-based filmmaker Toby Halbrooks’ short film Dig, also included in the Texas shorts lineup.

    Before directing her own films, Frizzell worked in costume design and art direction. Though these various roles, she acquainted herself with the filmmaking process and the local film community.

    “You know they say everyone should wait tables at least once in their life, and I feel like it’s kind of the same with filmmaking,” she says. “I think it’s important to get a feel for everyone’s job. Like with costuming — I have been the actor where I didn't want to wear a certain outfit, so I completely understand where the actor is coming from and how to make adjustments.

    “I love movies, and if I can get a job in a movie I will take it. I don’t care what it is. I just love being on set and being around the people.”

    It helps that her family feels the same way about making movies. Her husband is David Lowery, whose films — most notably Ain't Them Bodies Saints — have helped propel the Dallas film scene into the spotlight. Her daughter, Atheena — a lead character in I Was a Teenage Girl — is also a writer and actress, so Frizzell has a built-in support system at home that she says extends into the local film community.

    “It’s a great community,” she says. “The people really keep me here.”

    Frizzell is no stranger to being surrounded by talented friends and family. Having come from a long line of singers on her dad’s side — she is the granddaughter of country music singer-songwriter Lefty Frizzell — she grew up dreaming about following in her family’s footsteps. But first she had to overcome a big obstacle: stage fright.

    After high school, Frizzell decided to take an acting class in hopes of finding a cure. Not only did the class help with her stage fright, but she also landed her first acting gig.

    “The guy who taught the class ran a murder mystery theater, and he ended up asking me to audition,” she says. “I got the role, and I ended up doing that for many years. It was really good practice for me, and it was fun. But it was very challenging, because it was really out of my comfort zone.”

    Accepting this challenge eventually helped Frizzell discover her passion for acting.

    “When you’re acting in a situation like [the murder mystery theater], you’re very much a part of the group, having to talk with people and be social,” she says. “With film or other theater acting, you’re completely removed. You’ll do a scene, and if it goes well afterward, there’s no memory of it. It’s so strange. It’s like entering into this other dimension, and that’s a really fantastic part of the process.”

    Despite the fact that she loves working as an actress, I Was a Teenage Girl is just the beginning of Frizzell’s directorial pursuits.

    “I have a feature that I really want to make, but I wanted to do a short film first for practice, because you don’t really want to just jump into a feature,” she says. “Hopefully this will be exactly what I need to get my next film made, and now I have a bit of credibility.”

    Filmmaker Augustine Frizzell's directorial debut, I Was a Teenage Girl, premieres at SXSW.

    Photo by Sergio Garcia
    Filmmaker Augustine Frizzell's directorial debut, I Was a Teenage Girl, premieres at SXSW.
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    news/entertainment

    Movie Review

    Great acting and directing drive The Christophers to artistic heights

    Alex Bentley
    Apr 17, 2026 | 1:59 pm
    Michaela Coel and Ian McKellen in The Christophers
    Photo by Claudette Barius
    Michaela Coel and Ian McKellen in The Christophers.

    Director Steven Soderbergh is one of those filmmakers who — aside from the Ocean’s series — never seems to make the same kind of movie twice. He is somehow able to adapt his abilities to all sorts of different stories, making each of them as compelling as any other. His latest masterclass is in the London-set film, The Christophers.

    Lori Butler (Michaela Coel), who restores art for a living, is approached by brother and sister Sallie and Barnaby Sklar (Jessica Gunning and James Corden) with a scheme. They want her to become the new assistant for their aging father, Julian (Ian McKellen), a famous artist known for a series called “The Christophers,” in order to gain access to unfinished paintings from the series and complete them herself.

    Lori accepts the deal despite having some uneasy feelings about Julian, with whom she had a bad interaction years ago. Julian is just as wary, both because he knows of his children’s interest in the unfinished works, and because he would prefer to be left in peace. Although the trepidation on both sides continues for the bulk of the story, a grudging respect arises between two artists who know skill when they see it.

    Directed by Soderbergh and written by Ed Solomon, who last collaborated on No Sudden Move, the film is astonishing in its ability to be compelling with such a small story. Much of the film is spent inside Julian’s multi-story home as Julian and Lori have low-level confrontations about a variety of things, including the meaning of his art, her abilities, the fate of the remaining “Christophers,” and more. Each conversation brings out more detail about their worldviews and their thoughts about their lot in life.

    Much of the success of the film lies in the performances of McKellen and Coel. The 86-year-old McKellen has not lost his ability to astonish with the spoken word, and the monologues he delivers are engrossing even when they’re about mundane things. Coel, best known for the 2020 HBO show I May Destroy You, is a great foil for McKellen, never backing down from his challenges and giving her own unique takes on her lines.

    While the film can be enjoyable for non-art lovers, those who appreciate the vagaries of the art world will have a lot to chew on. Soderbergh and Solomon debate a lot of aspects of art, including whether it’s possible to separate the art from the person making it, why some art is valued more than others, the ethics of forgery, and more. Because the film is about a fictional artist, it gives the filmmakers a bit more freedom in their criticisms.

    Aside from McKellen and Coel, Gunning (Baby Reindeer) and Corden are the only other two people who get significant screen time in the film. Both of them are, let’s say, acquired tastes, and each gives an elevated performance that matches the energy of their respective characters. Tilly Botsford makes a nice impression in a small role as Julian’s masseuse.

    Soderbergh’s last three films — Presence, Black Bag, and now The Christophers — have nothing in common other than the expert filmmaker helming all of them. When you can make a ghost story, a spy film, and a small film about artists equally interesting, you know you’re doing something right.

    ---

    The Christophers is now playing in theaters.

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