July 6, 2026 Michèle Stephenson on Drawing on the Energy of a Movement in “True North: Canadian Myths and Black Power”
July 1, 2026 Tribeca 2026 Interview: Eddie Sánchez on Bringing Together a Unique Family Portrait “MexicanAmerican”
June 30, 2026 Tribeca 2026 Interview: Gabriella Diaz Arp on Going Back to the Motherland in “Matininó”
July 6, 2026 Michèle Stephenson on Drawing on the Energy of a Movement in “True North: Canadian Myths and Black Power”
July 1, 2026 Tribeca 2026 Interview: Eddie Sánchez on Bringing Together a Unique Family Portrait “MexicanAmerican”
June 30, 2026 Tribeca 2026 Interview: Gabriella Diaz Arp on Going Back to the Motherland in “Matininó”
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”
