Josh Lambert, Yvonne Lambert and Toto Miranda of The Octopus Project on Bringing Out the Beauty of Bigfoot in “Sasquatch Sunset”
Andy Brown and Brian Lindstrom on Spotlighting A Musician Before Her Time in “Lost Angel: The Genius of Judee Sill”
SXSW 2024 Review: “Dory Previn: On My Way to Where” Charts the Journey of a Musician Who Brought Together Different Tracks
Composer Kathryn Bostic on Making Silents Golden with “The Flying Ace” and “Something Good – Negro Kiss”
ReviewsSundance·2 min readSundance 2022 Review: Carlota Pereda’s Thrilling “Piggy” Will Make One Squeal in Delight
ReviewsSundance·3 min readSundance 2022 Review: Sam Green’s “32 Sounds” Enters the Heart Through the Ears
ReviewsSundance·3 min readSundance 2022 Review: Truth Can’t Be Abandoned in Violet Columbus and Ben Klein’s “The Exiles”
ReviewsSundance·2 min readSundance 2022 Review: The Effects of War Ripple Beyond the Battlefield in Simon Lereng Wilmont’s Exquisite “A House Made of Splinters”
ReviewsSundance·2 min readSundance 2022 Review: A Dangerous Spark Ignites the Electrifying “Palm Trees and Power Lines”
ReviewsSundance·2 min readSundance 2022 Review: A History of Slavery Can’t Be Washed Away in Margaret Brown’s Mighty “Descendant”
ReviewsSundance·3 min readSundance 2022 Review: A Breathtaking New Voice Considers a Loss of Cultural Identity in “Nanny”
ReviewsSundance·3 min readSundance 2022 Review: Andrew Semans’ “Resurrection” Becomes an Object of Obsession
ReviewsSundance·2 min readSundance 2022 Review: Ricky D’Ambrose’s “The Cathedral” Carefully Constructs a Lasting Impression
Film NewsTo Live and Screen in L.A.·3 min readJoe Carnahan Talks About the Alternate Ending He Shot For “The Grey”
Interviews·7 min readInterview: Nancy Buirski and Peggy Loving on Finally Getting to Tell “The Loving Story”