Marlo McKenzie and Jonathan Parker on an Unlikely Feminist Icon Shaking Things Up in “Carol Doda Topless at the Condor”
SXSW 2024 Review: “Dory Previn: On My Way to Where” Charts the Journey of a Musician Who Brought Together Different Tracks
Composer Kathryn Bostic on Making Silents Golden with “The Flying Ace” and “Something Good – Negro Kiss”
ReviewsSlamdance·2 min readSlamdance ’18 Review: A Family That Can’t See the Forest for the Trees in the Woodlands-Set Black Comedy “Back at the Staircase”
ReviewsSlamdance·4 min readSlamdance ’18 Review: Emily Bett Rickards & Matthew Glave Wring Painful Laughs from “Funny Story”
InterviewsSlamdance·11 min readSlamdance 2020 Interview: Lynne Sachs on a Subject Close Enough to Feel Far in “Film About a Father Who”
InterviewsSlamdance·6 min readSlamdance 2023 Interview: Lydia Cornett on Combining Body and Soul in “Fleshwork”
ReviewsSlamdance·2 min readSlamdance ’19 Review: Addiction Doesn’t Fiddle Around in Ronny Sen’s “Cat Sticks”
InterviewsSlamdance·9 min readSlamdance 2023 Interview: Kimi Takesue on the Wandering Eye in “Onlookers”
InterviewsSlamdance·8 min readSlamdance ’18 Interview: Charlie Birns on Investigating “Human Affairs”
InterviewsSlamdance·9 min readSlamdance 2022 Interview: Hugo De Sousa and Frank Mosley on a Wait Well Worth It in “The Event”
Slamdance·5 min readSlamdance ’19 Interview: Melissa Stephens on Going Beneath the Surface with “Finding the Asshole”
Film NewsTo Live and Screen in L.A.·3 min readJoe Carnahan Talks About the Alternate Ending He Shot For “The Grey”
Interviews·7 min readInterview: Nancy Buirski and Peggy Loving on Finally Getting to Tell “The Loving Story”