May 18, 2026 Cannes 2026 Review: Marine Atlan’s Magnificent Coming-of-Age Drama “La Gradiva” Shows Real Class
May 17, 2026 Cannes 2026 Review: Nicolas Athané and Marco Nguyen’s Out and Out Animated Comedy “Jim Queen” Has Unexpected Muscle
May 17, 2026 Cannes 2026 Review: A Quiet Connection Holds Considerable Power in Yukiko Sode’s “All the Lovers in the Night”
May 16, 2026 Cannes 2026 Review: Life as a Twentysomething is an Ongoing Battle in Lila Pinell’s Punchy “Shana”
May 18, 2026 Cannes 2026 Review: Marine Atlan’s Magnificent Coming-of-Age Drama “La Gradiva” Shows Real Class
May 17, 2026 Cannes 2026 Review: Nicolas Athané and Marco Nguyen’s Out and Out Animated Comedy “Jim Queen” Has Unexpected Muscle
May 17, 2026 Cannes 2026 Review: A Quiet Connection Holds Considerable Power in Yukiko Sode’s “All the Lovers in the Night”
May 16, 2026 Cannes 2026 Review: Life as a Twentysomething is an Ongoing Battle in Lila Pinell’s Punchy “Shana”
November 29, 2025 DOC NYC 2025 Review: Lorena Luciano’s “Nuns Vs. the Vatican” Brings a Powerful Priest’s Abuses Into the Light
November 26, 2025 DOC NYC 2025 Interview: Asia Johnson and Michael Kleiman on the Finding Free Speech in “Beyond”
November 18, 2025 DOC NYC 2025 Review: “Artists in Residence” Finds a Home for Satisfying Creative Careers to Take Root
November 16, 2025 DOC NYC 2025 Review: Monica Strømdahl’s “Flophouse America” Offers a Unnerving Look at the Trap of Poverty
November 14, 2025 DOC NYC 2025 Interview: Jeremy Xido on Getting Concrete Answers in “Sons of Detroit”
November 18, 2024 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”
