December 18, 2024 Review: Punks Find a Sick Solution to a Life of Pain in Tyler Nilson and Michael Schwartz’s Rocking “Los Frikis”
December 12, 2024 Peter Browngardt on a New Employment for Daffy Duck and Porky Pig in “The Day the Earth Blew Up”
December 18, 2024 Review: Punks Find a Sick Solution to a Life of Pain in Tyler Nilson and Michael Schwartz’s Rocking “Los Frikis”
December 12, 2024 Peter Browngardt on a New Employment for Daffy Duck and Porky Pig in “The Day the Earth Blew Up”
November 18, 2024 DOC NYC 2024 Interview: Emily Mkrtichian on a Memory That Can’t Be Taken Away in “There Was, There Was Not”
November 18, 2024 DOC NYC 2024 Review: Ondi Timoner’s “All God’s Children” Identifies a Shared Belief in a Higher Calling
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, 2023 DOC NYC 2023 Interview: Molly O’Brien on Playing All the Way to the Back of the House in “The Only Girl in the Orchestra”
November 14, 2023 DOC NYC 2023 Review: A Life Becomes a Work of Art in Lea Glob’s “Apolonia, Apolonia”
November 14, 2023 DOC NYC 2023 Interview: Ruth Leitman on Giving Audiences the Right to Laugh Along with a Right to Choose in “No One Asked You”
November 12, 2023 DOC NYC 2023 Review: “Uncropped” Leaves Nothing Out of the Frame in a Captivating Portrait of Photographer James Hamilton
November 12, 2023 DOC NYC 2023 Review: “Shari and Lamb Chop” Celebrates a Puppeteer Who Didn’t Always Have the Upper Hand
November 12, 2023 DOC NYC 2023 Review: “Anselm” Brings a Legendary Artist’s Influences to the Surface
November 10, 2023 DOC NYC 2023 Interview: Fernanda Faya on Wrestling with a Hidden History in “Neirud”
