September 13, 2026 TIFF 2026 Review: Maiken Baird’s “Edward Said: Between Worlds” is a Fitting Tribute to a Scholar Eternally Out of Place
September 12, 2026 TIFF 2026 Interview: John Trengrove on Forming a Perspective in the Sensational “The Taste of Apples”
September 12, 2026 TIFF 2026 Review: An Individual Betrayal Touches Everyone in Benjamin Naishtat’s Compelling “Glaxo”
September 12, 2026 TIFF 2026 Review: Friends Search for Higher Ground in Irene Dionosio’s Volcanic “Idda”
September 13, 2026 TIFF 2026 Review: Maiken Baird’s “Edward Said: Between Worlds” is a Fitting Tribute to a Scholar Eternally Out of Place
September 12, 2026 TIFF 2026 Interview: John Trengrove on Forming a Perspective in the Sensational “The Taste of Apples”
September 12, 2026 TIFF 2026 Review: An Individual Betrayal Touches Everyone in Benjamin Naishtat’s Compelling “Glaxo”
September 12, 2026 TIFF 2026 Review: Friends Search for Higher Ground in Irene Dionosio’s Volcanic “Idda”
July 27, 2026 Fantasia Fest 2026 Review: A Photographer Could Get Lost in the Bath in Corrin Evans’s Artfully Creepy “Corpus”
July 27, 2026 Fantasia Fest 2026 Review: Michael J. Gallagher Finds a Cult Story Worth Following Up on In “The Leader”
July 24, 2026 Fantasia Fest 2026 Review: A Makeup Artist Can’t Patch Up Everything in Nick Taylor’s Riveting and Reflective “Rubberhead: The Life and Monsters of Steve Johnson”
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”
