Josh Lambert, Yvonne Lambert and Toto Miranda of The Octopus Project on Bringing Out the Beauty of Bigfoot in “Sasquatch Sunset”
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: 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
InterviewsSundance·14 min readSundance 2022 Interview: Bradley Rust Gray Going with the Flow of “blood”
InterviewsSundance·8 min readSundance 2022 Interview: Jim Archer, David Earl and Chris Hayward on Putting It All Together for the Robot Comedy “Brian and Charles”
ReviewsSundance·3 min readSundance 2022 Review: The Justice System Creates a Broken Record in the Blistering “Free Chol Soo Lee”
InterviewsSundance·9 min readSundance 2022 Interview: Shaandiin Tome and Rayka Zehtabchi on a Rite of Passage in “Long Line of Ladies”
InterviewsSundance·11 min readSundance 2022 Interview: Lewie and Noah Kloster on Pulling Some Strings with “Stranger Than Rotterdam with Sara Driver”
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”