September 20, 2026 TIFF 2026 Review: You Have to Respect the Hustle in Deanté Gray’s Vibrant “Voices”
September 19, 2026 TIFF 2026 Interview: Hanaël El Yousfi on Starting a Dialogue with “The Daughters of Abraham”
September 19, 2026 TIFF 2026 Review: Michaël R Roksam’s Riveting Resistance Drama “Le Faux Soir” is the Real Deal
September 19, 2026 TIFF 2026 Review: There’s No Slack in Retrieving Some Jeans in Eugene Kotlyarenko’s Ruthless Thriller “Vintage Violence”
September 20, 2026 TIFF 2026 Review: You Have to Respect the Hustle in Deanté Gray’s Vibrant “Voices”
September 19, 2026 TIFF 2026 Interview: Hanaël El Yousfi on Starting a Dialogue with “The Daughters of Abraham”
September 19, 2026 TIFF 2026 Review: Michaël R Roksam’s Riveting Resistance Drama “Le Faux Soir” is the Real Deal
September 19, 2026 TIFF 2026 Review: There’s No Slack in Retrieving Some Jeans in Eugene Kotlyarenko’s Ruthless Thriller “Vintage Violence”
June 14, 2026 DC/DOX 2026 Review: Miniatures Speak to a Much Bigger Life in Anna Fitch’s Inspired “Yo (Love is a Rebellious Bird)”
June 13, 2026 DC/DOX 2026 Review: An Education Requires a Break from Past Ideas in Jeremy Workman’s Moving “School for Defectors”
June 11, 2026 DC/DOX 2026 Interview: Ora DeKornfeld on the State of Play in “The Grandfather Puzzle” and “Stalin Boys”
June 11, 2026 DC/DOX 2026 Interview: Khaula Malik on the Difficulty of Trying to Make a Clean Break in “The Custodian”
June 18, 2025 DC/DOX 2025 Interview: Jon Shenk on Following Navy SEALS on a Most Unique Mission to Save Lives in “In Waves and War”
June 27, 2024 DC/DOX 2024 Review: A.J. Schnack’s “Majority Rules” is a Political Doc That Separates Itself From the Pack
June 12, 2024 DC/DOX 2024 Interview: Jenifer McShane on a Sewing Circle Unlike Any Other in “The Quilters”
