April 2, 2026 SXSW 2026 Review: Echoes of the Past Are Made to Reverberate in “The Man with the Big Hat”
April 1, 2026 SXSW 2026 Review: Walking the Plank Starts to Look Like a Springboard in Josh Plasse’s Genuine “The Pirate King”
April 2, 2026 SXSW 2026 Review: Echoes of the Past Are Made to Reverberate in “The Man with the Big Hat”
April 1, 2026 SXSW 2026 Review: Walking the Plank Starts to Look Like a Springboard in Josh Plasse’s Genuine “The Pirate King”
February 11, 2026 Sundance 2026 Review: The Real Journey Begins After Migration Ends in Itab Azzam and Jack MacInnes’ Compelling “One in a Million”
February 11, 2026 Sundance 2026 Review: Hossein Keshavarz and Maryam Ataei’s “The Friend’s House is Here” Offers a Warm Welcome to a Place Artists Aren’t Often
February 9, 2026 Sundance 2026 Review: Judd Ehrlich’s “Jane Elliott Against the World” Demonstrates the Power of Persistence
February 4, 2026 Sundance 2026 Review: Craftsmanship is at the Heart of Eleanor Wilson and Alex Huston Fischer’s Sidesplitting “Wicker”
February 4, 2026 Sundance 2026 Review: Biljana Tutorov and Petar Glomazić’s “To Hold a Mountain” Offers a Strong Portrait of Resilience
February 2, 2026 Sundance 2026 Review: “If I Go Will They Miss Me” Delivers an Intricate and Exquisite Homecoming
February 2, 2026 Sundance 2026 Interview: Alex Fischman Cárdenas and Trout Cohen on Satisfying an Itch That Needed to Be Scratched in “¡PIKA!”
January 28, 2026 Sundance 2026 Review: “See You When I See You” Movingly Observes a Family at a Standstill in the Wake of Loss
January 27, 2026 Sundance 2026 Interview: Sharon Liese on Covering Big News in a Small Town in “Seized”
January 27, 2026 Sundance 2026 Review: A Fragile Situation is Brought to Light in Liz Sargent’s Solid “Take Me Home”
January 26, 2026 Sundance 2026 Interview: Lily Platt on Being Addicted to the Drama in “Crisis Actor”
