October 10, 2024 Cinematographer Nikolay Michaylov on Capturing the Pent-Up Desires in “Matt and Mara”
October 8, 2024 Beyond Fest 2024 Review: Galder Gatztelu-Urrutia’s “Rich Flu” Finds Value in Other Currencies Besides Cash
October 10, 2024 Cinematographer Nikolay Michaylov on Capturing the Pent-Up Desires in “Matt and Mara”
October 8, 2024 Beyond Fest 2024 Review: Galder Gatztelu-Urrutia’s “Rich Flu” Finds Value in Other Currencies Besides Cash
September 16, 2024 TIFF 2024 Review: Dea Kulumbegashvili Finds a Strong Way In to an Outside Operator in the Devastating “April”
September 16, 2024 TIFF 2024 Review: Personal Growth Takes Wild Directions in Giovanni Tortorici’s Deviously Charming “Diciannove”
September 16, 2024 TIFF 2024 Review: An Author Rewrites Her Destiny in Sinéad O’Shea’s Electric “Blue Road: The Edna O’Brien Story”
September 8, 2024 TIFF 2024 Review: An Astronaut Looks to Find Inner Peace in Pavlo Ostrikov’s Charming “U Are the Universe”
September 8, 2024 TIFF 2024 Review: A Heart Condition Leads to Intense Palpitations in Maksud Hossain’s “Saba”
September 6, 2024 TIFF 2024 Review: Frederik Louis Hviid’s Heist Thriller “The Quiet Ones” is Poised to Make Some Noise
September 6, 2024 Venice Film Fest 2024 Review: Brothers Bound to Duty Can’t Abide One Another in Türker Süer’s Tense “Edge of Night”
September 4, 2024 Venice Film Fest 2024 Review: Divisions in a Marriage Reflect Generational and Cultural Divides in Elizabeth Lo’s Transfixing “Mistress Dispeller”
September 3, 2024 Venice Film Fest 2024 Review: A Young Woman Contends With Unexpected Daddy Issues in Vojtĕch Strakatý’s “After Party”
September 3, 2024 Venice Film Fest 2024 Review: Sarah Friedland’s “Familiar Touch” Shows a Great Deal of Sensitivity
September 2, 2024 Venice Film Fest 2024 Review: Xiaoxuan Jiang’s “To Kill a Mongolian Horse” Vividly Depicts A Changing Climate for Inner Mongolia
