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 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
March 24, 2025 SXSW 2025 Review: Andrew Patterson’s Blazingly Original “The Rivals of Amziah King” Makes an Enemy of Convention
March 22, 2025 SXSW 2025 Review: The Daisy Ridley-Led “We Bury the Dead” Gives New Life to a Zombie Thriller
March 21, 2025 SXSW 2025 Review: Preventing a Wasted Youth Becomes a Thing of Beauty in Jacy Mairs’ “Trash Baby”
March 21, 2025 SXSW 2025 Review: A Life-Saving Act Puts A Hero’s Freedom Into Jeopardy in Anayansi Prado’s Powerful “Uvalde Mom”
March 18, 2025 SXSW 2025 Review: Grace Lee and Patty Ahn’s “Forever We Are Young” Chronicles an Equally Impressive Movement Off-Stage for Fans of BTS
March 17, 2025 SXSW 2025 Review: A Sticky Situation Ends Up Being a Fair Bit of Fun in J Pinder’s “Cotton Candy Bubble Gum”
