September 21, 2026 Venice Film Fest 2026 Review: Michael Dweck and Gregory Kershaw’s “Burgundy” Takes a Delicious Lay of the Land
September 20, 2026 TIFF 2026 Review: You Have to Respect the Hustle in Deanté Gray’s Vibrant “Voices”
September 19, 2026 TIFF 2026 Interview: Hanaël El Yousfi on Starting a Dialogue with “The Daughters of Abraham”
September 19, 2026 TIFF 2026 Review: Michaël R Roksam’s Riveting Resistance Drama “Le Faux Soir” is the Real Deal
September 21, 2026 Venice Film Fest 2026 Review: Michael Dweck and Gregory Kershaw’s “Burgundy” Takes a Delicious Lay of the Land
September 20, 2026 TIFF 2026 Review: You Have to Respect the Hustle in Deanté Gray’s Vibrant “Voices”
September 19, 2026 TIFF 2026 Interview: Hanaël El Yousfi on Starting a Dialogue with “The Daughters of Abraham”
September 19, 2026 TIFF 2026 Review: Michaël R Roksam’s Riveting Resistance Drama “Le Faux Soir” is the Real Deal
February 22, 2026 Slamdance 2026 Review: A Community Tries to Stay on Track in the Wake of a Train Derailment in Ori Segev and Noah Dixon’s Striking Portrait “The Bulldogs”
February 19, 2026 Slamdance 2026 Interview: Jessica Barr, Sarah Whelden and Kelly Wilcox on Setting Off “The Plan”
January 27, 2022 Slamdance 2022 Interview: Hugo De Sousa and Frank Mosley on a Wait Well Worth It in “The Event”
January 23, 2020 Slamdance 2020 Interview: Lynne Sachs on a Subject Close Enough to Feel Far in “Film About a Father Who”
January 25, 2019 Slamdance ’19 Interview: Melissa Stephens on Going Beneath the Surface with “Finding the Asshole”
February 3, 2018 Slamdance ’18 Review: A Family That Can’t See the Forest for the Trees in the Woodlands-Set Black Comedy “Back at the Staircase”
February 1, 2018 Slamdance ’18 Review: Emily Bett Rickards & Matthew Glave Wring Painful Laughs from “Funny Story”
