November 17, 2024 DOC NYC 2024 Review: A Comedian Can No Longer Mask His Anger in Josh Forbes’ “Gallagher”
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 17, 2024 DOC NYC 2024 Review: A Comedian Can No Longer Mask His Anger in Josh Forbes’ “Gallagher”
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”
May 19, 2023 Cannes 2023 Review: “The Feeling That the Time for Doing Something Has Passed” Works Out Life’s Kinks
May 26, 2022 Cannes 2022 Review: A Girl Discovers It’s a Dog Eat Dog World in Jasmine Trinca’s “Marcel!”
May 26, 2022 Cannes 2022 Review: The Terror of a Brutal Regime Hits Home in Manuela Martelli’s Engrossing “1976”
May 26, 2022 Cannes 2022 Review: An Actor Gets a Part He’d Rather Not Play in the Curious Conspiracy Thriller “The Green Perfume”
May 23, 2022 Cannes 2022 Review: A Broken Heart Takes Time to Mend in Lea Mysius’ Enthralling “The Five Devils”
May 21, 2022 Cannes 2022 Review: Sunlight Gives Way to a Gathering Storm in Erige Sehiri’s Iridescent “Under the Fig Trees”
May 20, 2022 Cannes 2022 Review: Doubt Trickles Into a Flood of Emotions in Elena López Riera’s “El Agua”
July 15, 2021 Cannes 2021 Review: A Cartel Leaves a Community on Edge in Tatiana Huezo’s Absorbing “Prayers for the Stolen”
