Part of Sep 2012 by

Sironia Takes One Last Victory Lap Around Austin

Thomas (Wes Cunningham) is a talented singer-songwriter who finds himself on the verge of releasing his first major label record. His perfectly lovely wife Molly (Amy Acker) is pregnant and they just signed a lease on a dreamy condo in Los Angeles. Thomas’ life is what most people dream of…until the record label executives unexpectedly decide to shelve his album. It is not long before even Thomas’ agent, Tucker (Jeremy Sisto), abandons him. Thomas’ music is officially deemed outdated and irrelevant, the music industry has moved on to focus on younger and poppier sounds.

Unable to afford their lavish Los Angelean lifestyle, Thomas and Molly relocate to Sironia, Texas, a place that promises a simpler and more affordable existence. Seemingly disenchanted with music, Thomas opts to manage a non-profit thrift store/restaurant for Molly’s brother (Tony Hale). Thomas and Molly buy a beautiful old home, they have their baby and life appears to be perfect once again; but we all know that Thomas will only be able to hide his unhappiness for so long before it rears its ugly head once again.

Writer-director Brandon Dickerson’s debut feature is visually impeccable and an all-around solid piece of filmmaking. It is quite astounding that Dickerson was able to construct a film with such high production values as an independent filmmaker. Even with the casting of Sironia, Dickerson is able to blend established acting talent such as Acker, Sisto and Hale with novices like Cunningham, all of whom lend the film a very authentic Texas air.

As Sironia continues its theatrical tour, Dickerson is gearing up to shoot his sophomore effort — a 1960s New York City gang drama — in Los Angeles. Dickerson will, however, be present at the Violet Crown Cinema screening of Sironia on September 18. Sironia will then be screening one more time in Austin, on September 20 at Alamo Lake Creek. These two screenings will probably be the last opportunities for Austinites to witness the sheer beauty of Jordan Valenti’s 35mm cinematography on the silver screen.

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