November 16, 2024 DOC NYC 2024 Interview: Miriam Guttmann on the Footsteps Towards Finding Peace Amidst an Unending War in Ukraine in “Front Row”
November 14, 2024 Alexis Spraic and Prudence Fenton on Keeping the Creative Juices Flowing in “The World According to Allee Willis”
November 14, 2024 Nabil Ayouch on Putting Passion Into a Song of Resistance in “Everybody Loves Touda”
November 11, 2024 Brad Lichtenstein and Yoruba Richen on the Rise of Truth in “American Coup: Wilmington 1898”
November 16, 2024 DOC NYC 2024 Interview: Miriam Guttmann on the Footsteps Towards Finding Peace Amidst an Unending War in Ukraine in “Front Row”
November 14, 2024 Alexis Spraic and Prudence Fenton on Keeping the Creative Juices Flowing in “The World According to Allee Willis”
November 14, 2024 Nabil Ayouch on Putting Passion Into a Song of Resistance in “Everybody Loves Touda”
November 11, 2024 Brad Lichtenstein and Yoruba Richen on the Rise of Truth in “American Coup: Wilmington 1898”
May 24, 2024 Cannes 2024 Review: A Sense of Defeat is Soulfully Evoked in Payal Kapadia’s Triumphant “All We Imagine as Light”
May 20, 2024 Cannes 2024 Review: A Refugee Courier Seeks Deliverance in Boris Lojkine’s Moving “L’Historie de Souleymane”
May 19, 2024 Cannes 2024 Review: A Defiant Poet Gets a Radical Biopic in the Electric “Limonov: The Ballad of Eddie”
May 18, 2024 Cannes 2024 Review: Tyler Taormina’s “Christmas Eve at Miller’s Point” is a Gift That Keeps On Giving
May 16, 2024 Cannes 2024 Review: Soldiers Confront a Fight They Didn’t Sign Up For in Roberto Minervini’s Thoughtful War Drama “The Damned”
May 15, 2024 Cannes 2024 Review: A Hunt for a War Criminal Becomes a Search for Peace of Mind in Jonathan Millet’s Haunting “Ghost Trail”
