March 9, 2026 Carlos A. Gutierrez on 25 Years of Cinema Tropical and a Time of Validation for Latin American Film
March 8, 2026 True/False 2026 Review: Naveen Chaubal’s “Pinball” Yields an Unusually Moving Portrait of Resettlement
March 7, 2026 True/False 2026 Review: “The Great Experiment” Crisply Captures America at a Crisis Point
March 7, 2026 True/False 2026 Review: A Movement Requires Memory in Yael Bridge’s “Who Moves America”
March 9, 2026 Carlos A. Gutierrez on 25 Years of Cinema Tropical and a Time of Validation for Latin American Film
March 8, 2026 True/False 2026 Review: Naveen Chaubal’s “Pinball” Yields an Unusually Moving Portrait of Resettlement
March 7, 2026 True/False 2026 Review: “The Great Experiment” Crisply Captures America at a Crisis Point
March 7, 2026 True/False 2026 Review: A Movement Requires Memory in Yael Bridge’s “Who Moves America”
July 26, 2025 Fantasia Fest 2025 Review: Alex Phillips’ “Anything That Moves” Envisions a Loss of Innocence From Another Perspective
July 22, 2025 Fantasia Fest 2025 Interview: Lucy Fry and Julie Pacino on Going to Uncomfortable Places in “I Live Here Now”
August 4, 2024 Fantasia Fest 2024 Review: Chris Stuckmann’s “Shelby Oaks” Reveals the Real Dangers of Chasing Ghosts
August 14, 2023 Fantasia Fest 2023 Interview: Frank Mosley and Hugo de Sousa on Fragile Objects in “Good Condition”
August 9, 2023 Fantasia Fest 2023 Review: A Chase Takes a Different Direction in John Rosman’s Inventive “New Life”
July 31, 2023 Fantasia Fest 2023 Review: An Itch Can’t Be Scratched in Mary Dauterman’s Still Satisfying “Booger”
July 24, 2023 Fantasia Fest 2023 Interview: Teresa Sutherland on Going Further with “Lovely, Dark, and Deep”
July 23, 2023 Fantasia Fest 2023 Review: Love is Its Own Form of Alienation in Zach Clark’s “The Becomers”
August 29, 2020 Fantasia Fest 2020 Review: A Family Can’t Hold Terror at Bay in the McManus Brothers’ “The Block Island Sound”
