Slacker

The walk-and-talk roots of the Before Trilogy are traceable to this low-budget cult movie from writer-director Richard Linklater, which came five years before our first introduction to Celine and Jesse. Rather than follow a single, winding conversation, though, Slacker hops from character to character every few minutes, and we never meet them again. In fact, we rarely even learn their names, which makes the credits a particular pleasure to watch as it identifies cast members with wry monikers like “Dostoyevsky wannabe,” “Ultimate loser,” and “Scooby Doo philosopher.”

Shot in Linklater’s adopted hometown of Austin, Texas, the movie captures the city’s uniquely alternative vibe — or, as one character succinctly puts it, “This town has always had its share of crazies.” Conversations range from the spaced-out to the flat-out paranoid, a fair amount of the movie’s ragtag band being partial to conspiracy theories, from the well-worn (JFK’s death) or the more bizarre (the real meaning behind The Smurfs). With its freewheeling approach to narrative, Slacker shares the lovable weirdness of its characters, as attested to by its enduring status as a cult classic.

Austin, Texas, is an Eden for the young and unambitious, from the enthusiastically eccentric to the dangerously apathetic. Here, the nobly lazy can eschew responsibility in favor of nursing their esoteric obsessions. The locals include a backseat philosopher who passionately expounds on his dream theories to a seemingly comatose cabbie, a young woman who tries to hawk Madonna's Pap test to anyone who will listen and a kindly old anarchist looking for recruits.