September 10, 2024 TIFF 2024 Interview: James Rathbone and Mike Feswick on Finding the Right Fit in “Solemates”
September 8, 2024 TIFF 2024 Review: An Astronaut Looks to Find Inner Peace in Pavlo Ostrikov’s Charming “U Are the Universe”
September 8, 2024 TIFF 2024 Review: A Heart Condition Leads to Intense Palpitations in Maksud Hossain’s “Saba”
September 6, 2024 TIFF 2024 Review: Frederik Louis Hviid’s Heist Thriller “The Quiet Ones” is Poised to Make Some Noise
September 10, 2024 TIFF 2024 Interview: James Rathbone and Mike Feswick on Finding the Right Fit in “Solemates”
September 8, 2024 TIFF 2024 Review: An Astronaut Looks to Find Inner Peace in Pavlo Ostrikov’s Charming “U Are the Universe”
September 8, 2024 TIFF 2024 Review: A Heart Condition Leads to Intense Palpitations in Maksud Hossain’s “Saba”
September 6, 2024 TIFF 2024 Review: Frederik Louis Hviid’s Heist Thriller “The Quiet Ones” is Poised to Make Some Noise
June 4, 2023 Cannes 2023 Review: A Society’s Pain is Resurfaced in Amat Escalante’s “Lost in the Night”
May 31, 2023 Cannes 2023 Review: “Firebrand” Gives the Royal Treatment to the Ugly Affairs of a Kingdom
May 24, 2023 Cannes 2023 Review: A Conversation About Cinema’s Future Breaks Out of Lubna Playoust’s “Room 999”
May 22, 2023 Cannes 2023 Review: Felipe Gálvez’s “The Settlers” Thrillingly Takes History Into Uncharted Territory
May 22, 2023 Cannes 2023 Review: A Gumshoe Walks in His Brother’s Footsteps in Claude Schmitz’s Mischievous “The Other Laurens”
May 21, 2023 Cannes 2023 Review: A Trio Warms to Each Other in Anthony Chen’s Tender Travelogue “The Breaking Ice”
May 20, 2023 Cannes 2023 Review: Elena Martín Gimeno’s “Creatura” Puts a Twist in Seeing Sexuality as a Beast
